diff --git "a/data/nyt/evaluation/evaluation_df_group_1.csv" "b/data/nyt/evaluation/evaluation_df_group_1.csv"
new file mode 100644--- /dev/null
+++ "b/data/nyt/evaluation/evaluation_df_group_1.csv"
@@ -0,0 +1,7594 @@
+The selected string is set in a specific legal context.,The selected string is concise and to the point.,"The selected string focuses on a personal, emotional narrative.",The selected string includes direct quotes from political figures.,The selected string highlights historical and political context.,The selected string uses a conversational and engaging tone.,The selected string uses a critical and evaluative tone.,The selected string focuses on global political tensions.,The selected string focuses on television programming and reviews.,The selected string focuses on a sports management decision.,The selected string uses a more narrative and descriptive writing style.,The selected string includes detailed financial figures and statistics.,The selected string explores the intersection of design and lifestyle.,"The selected string uses a light, engaging tone throughout.",The selected string targets a sports enthusiast audience.,The selected string focuses on design and furniture trends.,The selected string uses a formal and authoritative tone.,"The selected string uses a straightforward, factual tone.",The selected string focuses on a single individual's achievements.,The selected string uses vivid imagery and descriptive language.,The selected string lacks detailed narrative or descriptive elements.,The selected string is set in a specific geopolitical context.,The selected string includes detailed character portrayals.,The selected string highlights a specific community program.,The selected string includes direct quotes from local individuals.,The selected string focuses on a significant political movement.,The selected string emphasizes cultural and societal themes.,The selected string focuses on a sports event.,The selected string targets a politically informed audience.,The selected string uses a humorous and playful tone.,The selected string includes specific donation instructions and addresses.,The selected string focuses on art and design intersections.,The selected string focuses on philately and postal history.,The selected string emphasizes architectural creativity and innovation.,The selected string focuses on architectural and interior design elements.,The selected string includes a correction notice for factual accuracy.,The selected string is shorter and more concise in length.,The selected string includes specific broadcast details and times.,The selected string focuses on a single event.,The selected string includes direct quotes from multiple individuals.,The selected string is structured as a television review.,The selected string explores evolutionary biology and animal relationships.,"The selected string uses a straightforward, factual reporting style.",The selected string is centered around an academic setting.,The selected string includes a specific location in Manhattan.,The selected string emphasizes international cooperation and negotiations.,The selected string uses humor to engage the audience.,"The selected string targets a younger, style-conscious urban audience.",The selected string includes specific performance details and song titles.,The selected string uses detailed descriptions of architectural elements.,The selected string focuses on corporate financial controversy.,The selected string includes geopolitical and diplomatic elements.,The selected string is set in a rural American town.,The selected string uses medical and scientific terminology.,The selected string focuses on a natural disaster event.,The selected string uses a formal and informative writing style.,The selected string focuses on a legal case.,The selected string uses a conversational and informal tone.,The selected string focuses on sports and player trades.,The selected string focuses on environmental and historical issues.,The selected string includes historical context and personal anecdotes.,The selected string emphasizes nostalgia and emotional connections to objects.,The selected string is significantly shorter in length.,The selected string has a competitive and anticipatory tone.,The selected string focuses on personal reflections and introspection.,The selected string emphasizes academic and cultural collaboration initiatives.,The selected string focuses on medical advancements and ethical concerns.,The selected string includes specific names and roles of individuals.,The selected string focuses on a geopolitical conflict.,The selected string is set in a specific urban locality.,The selected string focuses on geopolitical and refugee issues.,The selected string includes direct quotes from the main subject.,The selected string highlights a relaxed and positive tone.,The selected string uses a first-person narrative perspective.,The selected string uses a reflective and contemplative tone.,The selected string includes specific product details and pricing.,The selected string focuses on international diplomacy and arms control.,The selected string uses a formal and celebratory tone.,The selected string lacks detailed background information.,The selected string features a fictional narrative with eccentric characters.,The selected string includes specific numerical data and statistics.,The selected string uses a nostalgic and reflective tone.,The selected string targets an audience interested in architecture and design.,The selected string uses a narrative style with historical context.,The selected string employs a somber and reflective tone.,The selected string targets an audience interested in scientific advancements.,The selected string includes a specific page reference.,The selected string is concise and straightforward in its narrative.,The selected string emphasizes consumer behavior and market trends.,The selected string includes detailed character analysis and development.,The selected string mentions a specific political figure.,The selected string targets an audience interested in media analysis.,The selected string is set in a specific New York location.,The selected string uses a compassionate and empathetic tone.,The selected string focuses on a fictional television series.,The selected string includes a call to action for donations.,The selected string critiques narrative consistency and artistic choices.,The selected string is concise and straightforward.,The selected string is set in a baseball stadium environment.,The selected string highlights technological advancements in academic settings.,The selected string includes specific player statistics and achievements.,The selected string focuses on sports and cultural symbolism.,The selected string includes specific architectural and design details.,The selected string focuses on a historical and cultural narrative.,The selected string uses a formal and serious tone.,The selected string is structured as a Q&A advice column.,The selected string highlights brand identity and marketing strategies.,The selected string is suitable for a general audience.,The selected string focuses on political and social issues.,The selected string uses a documentary format for storytelling.,The selected string includes detailed technical aviation terminology.,The selected string includes direct quotes from interviewees.,The selected string focuses on child welfare issues.,The selected string targets an audience interested in drama and film.,The selected string uses a reflective and analytical tone.,The selected string uses technical architectural vocabulary and terminology.,The selected string includes direct quotes from industry professionals.,The selected string uses formal and diplomatic language.,The selected string uses a formal and diplomatic tone.,The selected string uses a chronological play-by-play structure.,The selected string highlights pop culture and music trends.,The selected string focuses on academic leadership and administration.,The selected string focuses on a theatrical performance setting.,"The selected string involves a high-profile, widely recognized public figure.",The selected string explores philosophical aspects of design.,The selected string involves a courtroom setting and legal proceedings.,The selected string uses vivid imagery to describe settings.,The selected string highlights a specific character's personality traits.,The selected string targets an entertainment-focused audience.,The selected string includes detailed cast and crew information.,The selected string includes specific legal and procedural details.,The selected string explores themes of consumerism and legacy.,The selected string is centered on a specific political event.,The selected string includes historical references and literary allusions.,The selected string includes humorous anecdotes about animal behavior.,The selected string uses a factual and neutral tone.,The selected string focuses on a specific art installation.,The selected string includes a specific correction date.,"The selected string addresses a controversial, sensitive topic directly.",The selected string includes detailed personal anecdotes and quotes.,The selected string focuses on a religious figure.,The selected string focuses on architectural design and innovation.,The selected string highlights a specific charitable organization and its role.,The selected string includes personal anecdotes and observations.,The selected string focuses on personal recovery and resilience.,The selected string focuses on international human rights issues.,The selected string uses a conversational and informal writing style.,"The selected string uses a journalistic, investigative tone.",The selected string uses a formal and factual tone.,The selected string focuses on a historical political figure.,The selected string mentions a specific date and location.,The selected string focuses on a sports contract announcement.,The selected string employs metaphorical language and symbolism.,The selected string presents a detailed experimental process and results.,The selected string includes specific financial and legal details.,The selected string focuses on a television show review.,The selected string focuses on a specific international incident.,The selected string focuses on economic growth in Poland.,The selected string discusses international diplomatic relations.,The selected string is concise and straightforward in structure.,The selected string highlights a culinary experience with detailed food descriptions.,The selected string highlights community impact and social responsibility.,The selected string focuses on a historical event's commemoration.,The selected string uses a critical and investigative tone.,The selected string uses a single photo description.,The selected string focuses on a political and legal theme.,The selected string focuses on a criminal investigation narrative.,The selected string features a skeptical yet hopeful tone.,"The selected string is set in London, UK.",The selected string focuses on a specific tragic event.,The selected string is set in a post-war Balkan context.,The selected string emphasizes community and educational partnerships.,The selected string focuses on technology and software development.,The selected string uses a more urgent and concerned tone.,The selected string uses a light-hearted and humorous tone.,The selected string emphasizes contemporary design and creative entrepreneurship.,The selected string highlights cultural impact and representation.,The selected string focuses on a specific competitive event.,The selected string includes detailed descriptions of fishing experiences.,The selected string focuses on suburban adaptation of urban lofts.,The selected string includes a focus on family and legacy.,The selected string discusses historical and contemporary design trends.,The selected string addresses complex social issues and consequences.,"The selected string highlights diverse, individual human experiences.",The selected string highlights religious and political themes in its content.,The selected string incorporates a narrative of budget constraints.,The selected string uses vivid imagery to describe design elements.,The selected string uses direct quotes from athletes.,The selected string highlights bureaucratic inefficiencies in educational policies.,The selected string focuses on a global health crisis.,The selected string addresses mental health awareness and advocacy.,The selected string emphasizes team dynamics and player performance.,The selected string is set in a specific geographic location.,The selected string explores historical and contemporary architectural influences.,The selected string emphasizes the transformation of traditional spaces.,The selected string focuses on a niche outdoor activity.,The selected string is set in a historical European context.,The selected string is structured as a media critique.,The selected string focuses on a single individual's personal experiences.,The selected string uses a dramatic narrative style.,The selected string focuses on a historical political event.,The selected string has a hopeful and optimistic tone.,The selected string includes direct quotes from designers and experts.,The selected string includes dialogue to enhance character development.,The selected string focuses on military and geopolitical content.,The selected string highlights cultural and artistic heritage.,The selected string includes specific monetary figures and estimates.,The selected string focuses on ethical dilemmas and personal decisions.,The selected string questions the virtue of high voter turnout.,The selected string includes historical and modern references.,The selected string focuses on a specific residential project.,The selected string focuses on historical coinage and minting.,The selected string emphasizes modern design aesthetics and challenges.,The selected string is concise with a straightforward narrative style.,The selected string explores themes of mortality and legacy.,The selected string includes direct quotes from participants.,The selected string combines two unrelated topics: pit bulls and romance.,The selected string focuses on political and economic themes.,The selected string uses a documentary review format.,The selected string includes political analysis and expert opinions.,"The selected string conveys a tranquil, contemplative tone.",The selected string emphasizes character transformation through minimal props.,The selected string targets an audience interested in home aesthetics and design.,The selected string emphasizes physical resilience and sportsmanship.,The selected string critiques societal impacts of media consumption.,The selected string includes a correction notice.,The selected string includes a historical perspective on candidates.,The selected string includes interactive and sensory elements.,The selected string focuses on historic preservation and urban renewal.,The selected string includes specific business examples and success stories.,The selected string includes practical advice and step-by-step guidance.,The selected string focuses on a political protest event.,The selected string is concise and event-specific.,"The selected string is concise, focusing on a single topic.",The selected string lacks detailed narrative or descriptive storytelling.,The selected string highlights a specific event: Milan Furniture Fair.,The selected string critiques welfare programs and liberal policies.,The selected string emphasizes literary adaptation and television production.,The selected string uses a conversational and speculative tone.,The selected string contrasts perspectives of opposing sides in conflict.,The selected string emphasizes architectural design and aesthetics.,The selected string uses a narrative storytelling approach.,The selected string provides detailed accounts of surgical errors and consequences.,"The selected string is structured with short, informative paragraphs.",The selected string focuses on historical analysis of Hoover's F.B.I.,The selected string focuses on gender dynamics in politics.,The selected string emphasizes emotional and relational conflicts.,"The selected string is set in Madrid, Spain.",The selected string is set in a prison environment.,The selected string focuses on a legal proceeding.,The selected string focuses on a sports-related family narrative.,The selected string includes specific future plans and commitments.,The selected string highlights a peaceful transition of power.,The selected string includes a detailed plot summary.,The selected string uses a concise and direct writing style.,The selected string emphasizes domestic life and consumer culture.,The selected string explores futuristic personalized nutrition based on genomics.,"The selected string uses a sophisticated, artistic vocabulary.",The selected string includes historical context and modern implications.,The selected string features a live concert setting.,"The selected string includes quirky, unconventional guest interviews.",The selected string highlights a corporate partnership between Microsoft and Apple.,The selected string includes detailed visual descriptions.,The selected string highlights political and economic implications.,The selected string targets an audience interested in historical events.,The selected string highlights an understudy's unexpected rise to stardom.,The selected string uses boldface names for emphasis.,The selected string focuses on home video and film releases.,The selected string focuses on educational policy and societal impact.,The selected string is set in an international diplomatic context.,The selected string uses humor and sarcasm in its tone.,The selected string is centered around a contemporary American political context.,The selected string includes specific financial details about surrogacy.,The selected string is set in a contemporary urban environment.,The selected string emphasizes emotional impact on families and educators.,The selected string highlights individual and collaborative musician dynamics.,The selected string targets a younger audience with educational intent.,The selected string focuses on personal hardship and resilience.,The selected string involves a high-profile government agency.,The selected string focuses on business conducted on a golf course.,The selected string emphasizes historical and cultural significance of stamps.,The selected string includes detailed emotional introspection and moral dilemmas.,The selected string includes detailed descriptions of stamp designs.,"The selected string focuses on a single performer, David Campbell.",The selected string highlights a specific local setting in California.,The selected string focuses on modern technology's impact on life.,The selected string focuses on a fictional detective character.,The selected string uses humor and irony in its narrative.,The selected string includes specific musical influences and comparisons.,The selected string is an interview format with Q&A structure.,The selected string appeals to a lifestyle-oriented audience.,The selected string focuses on personalizing living spaces.,The selected string focuses on a niche design product.,The selected string discusses the impact of collectors on museum acquisitions.,The selected string emphasizes law enforcement and legal consequences.,The selected string provides detailed contact information for multiple organizations.,The selected string emphasizes personal stories of homeowners and architects.,The selected string includes specific examples of educational TV shows.,The selected string focuses on a political leader's visit.,The selected string uses humor to describe unusual antique items.,The selected string is structured as a television program review.,The selected string uses a formal and informative tone.,"The selected string includes a precise location: Le Grand-Bornand, France.",The selected string includes detailed descriptions of interior design elements.,The selected string uses nautical and architectural vocabulary extensively.,The selected string includes a mystery element with anonymous phone calls.,The selected string focuses on fountains and their cultural significance.,The selected string addresses immigration as a central theme.,The selected string uses a narrative style with personal anecdotes.,The selected string is concise and less detailed.,The selected string discusses the preservation of American design legacy.,The selected string includes references to PBS programming.,The selected string is set in a university environment.,The selected string highlights French influence in Equatorial Guinea.,The selected string focuses on vintage cars in Cuba.,The selected string focuses on architectural innovation and urban planning.,The selected string is centered around theater and film industry.,The selected string includes direct quotes from notable individuals.,The selected string involves Native American symbols and trademark issues.,The selected string discusses legal aspects of fireworks sales.,The selected string emphasizes conflict and social unrest.,The selected string critiques the universality of Olympic pictograms.,The selected string focuses on a single influential designer.,"The selected string uses vibrant, playful language and colors.",The selected string discusses geopolitical changes affecting stamp issuance.,The selected string emphasizes patriotism in holiday decorations.,The selected string involves a court ruling affecting international relations.,The selected string targets a business-oriented audience.,The selected string uses formal and precise legal terminology.,The selected string is set in a sports training camp.,The selected string is set in a specific European location.,The selected string discusses insurance and compensation issues.,The selected string questions if easier equates to better.,"The selected string is set in New England, USA.",The selected string targets an audience interested in international affairs.,The selected string critiques a television program's self-promotion.,The selected string has a serious and analytical tone.,The selected string focuses on a live jazz performance.,The selected string emphasizes community support and charitable contributions.,"The selected string focuses on a niche subculture, UFO enthusiasts.",The selected string highlights mental health and community support.,The selected string focuses on fashion and motorcycles.,The selected string focuses on a religious event.,The selected string focuses on television industry and ratings.,The selected string discusses a specific disease's societal impact.,The selected string includes symbolic gestures and ceremonies.,The selected string contains specific details about coin composition.,The selected string provides detailed casualty and injury statistics.,The selected string focuses on a historical documentary.,The selected string focuses on a sports figure's personal journey.,The selected string has a celebratory and respectful tone.,The selected string includes detailed product specifications and testing methods.,The selected string includes specific dates for future events.,The selected string highlights personal anecdotes and career achievements.,The selected string focuses on political negotiations and diplomacy.,The selected string mentions electoral reform as a key goal.,The selected string mentions a Japanese executive as a buyer.,"The selected string uses a straightforward, factual writing style.",The selected string is centered around a single individual's story.,The selected string discusses philosophical questions about mental health.,"The selected string uses a playful, informal tone throughout.",The selected string addresses language barriers affecting team communication.,The selected string features a prominent economist as a central figure.,The selected string emphasizes community and collaboration in workplaces.,"The selected string focuses on sports, specifically football.",The selected string emphasizes practicality in design over conceptual ideas.,The selected string discusses privacy concerns in data sharing agreements.,The selected string emphasizes human rights and activism.,The selected string lacks detailed narrative or background.,The selected string highlights design flaws impacting constitutional rights.,The selected string involves federal and state government interactions.,The selected string discusses implications of a third-party influence.,The selected string features a stand-up comic as the protagonist.,"The selected string highlights a specific historical building, the Blacker House.",The selected string critiques deregulation's impact on educational TV content.,The selected string focuses on European Union expansion challenges.,The selected string addresses trans-Atlantic travel and its implications.,The selected string includes detailed descriptions of refugee life.,The selected string uses a documentary-style narrative approach.,The selected string highlights cultural and social challenges in addressing AIDS.,The selected string highlights contradictions in the designer's personal life.,The selected string highlights a creative process involving trial and error.,The selected string includes multiple television networks' programming details.,The selected string includes specific exhibition details and locations.,"The selected string targets a broad, general audience.",The selected string emphasizes historical context and tradition of giving.,The selected string discusses historical context of affirmative action.,The selected string provides specific financial details and assistance.,The selected string focuses on air-conditioning's cultural and architectural impact.,The selected string critiques corporate and governmental responses.,The selected string includes a call to action for viewers.,The selected string includes detailed descriptions of TV movie plots.,The selected string features a nostalgic tone about tiki culture.,The selected string presents a futuristic scenario in 2100.,The selected string highlights systemic issues in day-care centers.,The selected string is set in a refugee camp on a border.,The selected string explores Biblical history and its interpretations.,The selected string is set in a historical context: 1962 Arizona.,The selected string highlights a rediscovery of a forgotten artist.,The selected string includes references to popular TV shows.,The selected string includes detailed accounts of multiple murders.,The selected string provides real-time rescue and investigation updates.,The selected string includes specific geographical locations in Germany.,The selected string discusses air pollution and power plants.,The selected string uses a serious and urgent tone.,The selected string questions the concept of diversity critically.,The selected string includes specific monetary figures and auction details.,The selected string includes specific brand and designer names.,The selected string focuses on a specific geographic location: Bicol.,The selected string emphasizes real-world application of learned skills.,The selected string discusses health impacts of radiation exposure.,The selected string discusses societal changes and media impact.,"The selected string discusses a historical corporate event, New Coke.",The selected string emphasizes opulent decor and lavish design details.,The selected string focuses on international political relations.,The selected string involves specific sports teams and player details.,"The selected string is a concise, 70-minute drama adaptation.",The selected string emphasizes safety measures and their effectiveness.,The selected string focuses on a music band's comeback.,The selected string includes a step-by-step guide for business deals.,The selected string emphasizes pricing as a key element.,The selected string emphasizes myth versus reality in public perception.,The selected string uses technical jargon related to tennis equipment.,The selected string highlights a classic literary work adaptation.,The selected string involves multiple countries and international organizations.,The selected string includes a direct claim of responsibility.,The selected string includes real-life footage and dramatization.,The selected string focuses on ecological and scientific research.,The selected string focuses on television programming and media.,The selected string targets an audience interested in high-end dining.,The selected string includes a humorous anecdote about a Cold War figure.,The selected string focuses on a recent aviation disaster.,The selected string includes historical context about Richard Neutra's work.,The selected string uses a promotional and informative tone.,The selected string emphasizes a long-standing personal grudge.,The selected string focuses on personal lifestyle and home design.,The selected string highlights a conflict between church and state.,The selected string focuses on freedom of speech and press.,The selected string highlights international collaboration in filmmaking.,The selected string emphasizes individual dietary needs over general recommendations.,The selected string focuses on a real estate transaction.,The selected string uses a conversational tone with direct quotes.,The selected string highlights innovative product design and branding.,The selected string includes specific odds and betting information.,The selected string includes historical context about the Zia symbol.,The selected string explores themes of power and vulnerability.,The selected string includes direct quotes from the artist.,The selected string focuses on marine life and cephalopods.,The selected string highlights historical ties between Columbia and Italy.,"The selected string includes multiple short, unrelated news snippets.",The selected string uses a cautionary tone about investments.,The selected string focuses on educational experiences at Harvard.,The selected string critiques media portrayal of law enforcement.,The selected string discusses wartime sexual violence as a central theme.,The selected string involves a specific geographical setting: Northern Ireland.,The selected string includes commercial sponsorship discussions for classic films.,The selected string includes direct quotes from officials.,The selected string includes future episode previews for viewer engagement.,The selected string discusses international aid and political dynamics.,The selected string mentions specific video pricing and availability details.,The selected string targets an audience dealing with estate planning.,The selected string discusses technology and market trends.,The selected string emphasizes a cultural and religious integration.,The selected string includes specific player statistics and game details.,The selected string emphasizes legal challenges and international law intricacies.,The selected string includes specific voting results and statistics.,The selected string discusses potential environmental impacts of biotechnology.,The selected string includes etymology of words like 'humbug'.,The selected string critiques a media personality's performance.,The selected string emphasizes personal opinions and emotional expressions.,The selected string explores themes of national identity and leadership.,The selected string uses a hypothetical nuclear war scenario.,The selected string includes detailed fight analysis and scoring.,The selected string uses martial music and slogans for emphasis.,The selected string focuses on voting technology and design issues.,"The selected string discusses a futuristic, conceptual housing project in Tokyo.",The selected string includes detailed descriptions of design elements.,The selected string focuses on travel and infrastructure improvements.,The selected string discusses global population trends and implications.,The selected string provides contact information for philatelic societies.,The selected string discusses international trade and embargoes.,The selected string includes direct quotes from involved individuals.,The selected string focuses on education for disabled students.,The selected string highlights financial challenges of an institution.,The selected string highlights New York-centric events and personalities.,The selected string provides a detailed biography of Sidney Poitier.,The selected string uses economic models to predict election outcomes.,The selected string emphasizes personal triumph and overcoming challenges.,The selected string provides detailed personal history and transformation.,The selected string discusses United Nations and Security Council actions.,The selected string includes a narrative of a recent siege.,The selected string highlights a collaboration between two architects.,The selected string uses direct quotes from a religious leader.,The selected string discusses a product's pre-buzz marketing strategy.,The selected string includes specific geographic references to Puerto Rico.,The selected string highlights copyright and collaboration issues.,The selected string explores the boundary between reality and perception.,The selected string includes a personal perspective from Sergio Zyman.,The selected string highlights internal university politics and dynamics.,The selected string includes technical details about installation and costs.,string
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+With 1 minute 50 seconds remaining in regulation of an N.F.L. playoff game, New England trailed Oakland by 13-10. Patriots quarterback Tom Brady dropped back to pass. He appeared to pump-fake and to pull the ball down as Charles Woodson, a Raiders cornerback, sacked him on a well-timed blitz, causing a fumble. Great play. Great call. Game over.
+Not so fast.
+The ruling was overturned. The Patriots maintained possession, drove for the tying field goal, then won in overtime. The call ruptured my theory that sports were the great equalizer, a haven immune from the political machinations that define most of our lives. In sports, for the most part, neither riches nor station in life can bail you out in the moment of truth. Either you do or you don't.
+The Patriots did not, then they did. They won the game and later the Super Bowl. A forgettable moment I will never forget.
+WILLIAM C. RHODEN"
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+LEAD: An Afghan garrison town is rising here on bare, stony hills whose access roads are mainly the gullies of nearly waterless streams.
+An Afghan garrison town is rising here on bare, stony hills whose access roads are mainly the gullies of nearly waterless streams.
+There is a fortress-like weapons dump, a field of guerrillas' tents, a motor pool, a supply depot and an imposing new headquarters building that might in other times have been the walled palace of a Central Asian warlord.
+Nearby, more than 25,000 civilians, supported by relief agencies from Islamic nations and the West, have created an Afghan village, with mosques, a tailor shop, foodstalls and a small clinic. Afghan buses with Afghan drivers and passengers ply the bumpy routes to the market town of Jallozai or to the city of Peshawar, about 20 miles to the northwest.
+Nevertheless, this is Pakistani territory, at least 40 miles from the Afghan border.
+Shamsshato and many other settlement like it are part of the reality of the war in Afghanistan between a Soviet-installed Government and seven Islamic guerrilla armies fighting to oust it, with American, British, Saudi and other international support. Taking On a Permanence
+For many Pakistanis, it is a reality that is taking on an unwelcome permanence, generating controversy and a degree of anguish over what this country's role should be in a neighbor's conflict.
+More than three million Afghan refugees are thought to be in Pakistan now, with two million more in Iran and perhaps an additional three million displaced within their own country, according to refugee leaders and international aid organizations.
+Experts here, taking into account admittedly sketchy casualty figures in Afghanistan, believe that half the people have fled their homes or died since Soviet forces swept into the country in 1979. At the beginning of this decade, the population was estimated at around 16 million.
+Pakistan's response to Afghanistan's turmoil was instant and generous, relief officials say. Refugees and political exiles have been fleeing here since the early 1970's, when a series of coups and countercoups began in Kabul, the Afghan capital.
+Unlike refugees in Southeast Asia or most other regions of first asylum, those here in Pakistan are not severely restricted. They are not fenced in. Their settlements are known as 'refugee villages' and are run by civilian Pakistani administrators. Move Freely Around Country
+Afghans can move freely around the country, finding jobs or starting small businesses. Itinerant Afghan carpet salesmen, bright rugs flung over their shoulders like shawls, are a common sight on the streets of Peshawar.
+Aid officials said they knew Afghan families with fleets of small Mercedes buses. More than 4,000 private vehicles engaged in public transportation had been temporarily licensed by Pakistan by the end of 1985. Since then, countless others have joined the business.
+In Peshawar alone there are 600,000 Afghans, according to Ikramullah Jan, the federal Government's spokesman for North West Frontier Province and the border tribal areas.
+'We are also 600,000,' he added. 'So that makes us 50-50 now.' 'The difference is the Afghans all have guns,' a resident of Peshawar said. 'They could go through this town like a knife through butter.'
+The police, another resident remarked, are unusually polite and respectful in this province. 'They know if they rough up somebody they could get shot,' he said. Pressure to Move Reported
+People in Shamsshato say the new military headquarters being built for the guerrilla organization Hizb-e-Islam was a response to pressure from the local authorities to move guerrillas out of the Peshawar area.
+Hizb-e-Islam, led by Gulbadeen Hekmatyar, is reported to be getting much of the covert American aid channeled to the guerrillas through Pakistan.
+Because of the conservative Islamic practices of most Afghans here - they are rural people, unlike the Persian-speaking elite who fled the cities earlier - the refugee women and children remain out of sight.
+A Western resident of Peshawar said most Pakistanis therefore never see the pitiable families of the guerrillas, including old people, but only the men, strolling armed through town or loitering in coffee shops.
+There are repeated calls for a complete separation of the Afghan and Pakistani populations, and Pakistani officials have said they will try to restrict Afghans to the refugee camps. But most aid officials say this would be an enormous if not impossible task now.
+Most Pakistanis asked about the Afghans still say they are fellow Moslems who must be given refuge and support against Soviet attempts to remake their country. At the same time, fears are beginning to be expressed in speeches, letters to newspapers and conversations with outsiders about new levels of danger that the Afghan presence may be bringing.
+Throughout the region, border villages are vulnerable to bombing by Soviet and Afghan Government aircraft. These raids have increased in recent weeks. Explosions and Rocket Attacks
+Since early last year, there have been several unexplained explosions in Peshawar, and these are increasing in their 'wantonness and bloodiness,' a foreigner living in the city said.
+Rocket attacks are also occurring now, with the rockets being fired into town apparently from tribal areas a few miles to the west.
+The terror campaign may be the work of mercenary saboteurs, according to some officials. These officials are convinced that Afghan Government and Soviet agents are the paymasters behind the attacks.
+'The Russians have spent millions of rubles, millions of dollars to subvert people in the Peshawar area,' a university professor said. 'If one of these rockets kills the family breadwinner, how can the others not turn against the Afghans, who are seen to be the cause of the trouble?'
+'But people in their hearts know they can't deny them,' he said. 'We give them shelter. That is all they ask of us.'  SHAMSSHATO JOURNAL"
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+Pop hitmakers of 2002 gathered at Madison Square Garden on Thursday night to pay obeisance to a powerful radio station, WHTZ, in its annual Z100 Jingle Ball. As they did, it was possible to see the pop pendulum swinging: away from the fantasy confections of the late 1990's and toward a calculated approximation of realism.
+First of all, there were no simpering boy bands on the bill. Justin Timberlake of 'N Sync opened the show on his own, dancing despite a broken foot. The only vocal group on hand was Destiny's Child, singing its hard-nosed songs about independent women and untrustworthy men.
+The rest of the performers were solo acts, and nearly all were determined to convey unmediated sincerity. Avril Lavigne, 18, wore a punky black T-shirt and strummed her own guitar as she performed tunes in MTV-ready formats from pop-punk to power ballads. She sang about the acutely felt slights of adolescence -- a boyfriend who tries to act too cool in public, a friend who's shut her out -- with a neatly fashioned straightforwardness. In her best song, the catchy, punk-pop 'Sk8er Boi,' a girl who rejects a lower-class guy regrets it when he becomes a rock star; it's a welcome step away from self-pity.
+Nelly, Ja Rule and Ashanti -- the show's hip-hop contingent -- get their realism by keeping their raps and tunes simple, inviting singalongs. Nelly and half a dozen associates rapped in uncomplicated, singsong cadences about lust, parties, their native St. Louis and a dance floor so hot that women take their clothes off. Ja Rule, who has lately become the roughneck for hire among pop-R&B singers, took his shirt off and recited his low, raspy come-ons; fans eagerly sang Jennifer Lopez's parts around his rap in 'I'm Real.' Ashanti, whose tangy voice supplied hooks for hip-hop songs before she made her own album, sang about devoted love in short, sharp phrases that the whole crowd could join.
+John Mayer strummed jazzy, virtuosic chords on an acoustic guitar, parading his tender feelings about women. Kelly Clarkson, who won the 'American Idol' competition, sang two Mariah Carey-style ballads about love, putting ripples into her rich, creamy voice before growling in the homestretch of each song.
+Kylie Minogue, the Australian singer who had an American hit this year, 'Can't Get You Out of My Head,' after a long career in Britain, was the exception. She harked back to 1980's Madonna, singing in a thin voice over percolating electronics. Dressed in a minimal black stretch garment, gesturing with languid arms and surrounded by campy dancers -- the men wore silver hot pants or, in a quasi-Latin number, flouncy black skirts -- she projected an android cool that was decidedly out of place.
+POP REVIEW"
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+At a time when big one-design yachts and all the class rules that come with them are dominating sailboat racing, a 26-footer with an independent pedigree is competing as the little boat that could.
+It's called Wai Rere, a New Zealand Maori name that means 'skipping over water.' Indeed, the owners, Chris and Trice Bouzaid, a couple from Jamestown, R.I., are finding its skimming qualities exciting. The sailboat has won at Key West Race Week twice and two years ago won Block Island Race Week.
+The boat is a favorite to win the sport-boat division at Block Island Race Week again when the event begins tomorrow on Rhode Island Sound with 133 sailboats expected over all. One of the most competitive classes will be among the 14 sport boats -- all from production classes -- trying to unseat the free-spirited Wai Rere (pronounced Why-REAR-ee). The craft has no class rules other than to go fast.
+'It's very easy to sail,' Chris Bouzaid said about his family's 3-year-old boat. 'And it has none of the tricks and gimmicks that a lot of the newer sailboats have. That's why we decided not to buy a boat from a single one-design class. If we wanted to change something, we wouldn't be able do it,' he explained. 'With our boat, we can do anything we want.'
+The boat's New Zealand designer, Steve Thompson, has built only the one boat. Formerly named Tom Tom Taxi, the boat was in New Zealand when the Bouzaids took it for a sail. By the end of the day, the couple had bought the boat for $25,000, a good buy. Most sport boats -- the modern 25-to-35-foot open-cockpit racers -- cost more like $50,000 to $80,000.
+Wai Rere has an oversized ballast bulb at the end of its fin keel, and a circular, bowl-shaped hull that likes to heel rather than stay flat in a breeze. The way the Bouzaids see it, that makes the boat easier to sail than its contemporaries.
+The closest thing to it in competition today is the Viper 830GR, a larger and more expensive version of Wai Rere. Also a Thompson creation, the sailboat is built in Tiverton, R.I., as a production model with its own set of class rules. Two Viper 830's are expected at Block Island, and both have names that indicate a challenge to the Bouzaids' flying fish: one is High Voltage, and the other, Snakebite.
+2 New Yachts Favored
+The Newport Bermuda Race got off to a smooth start Friday afternoon for the fleet of 161 boats that began the race in a dwindling 7- to 9-knot southwesterly breeze off Newport, R.I.
+Boomerang, the competition's record-holder, needs to finish in less than 57 hours 31 minutes 50 seconds, the pace it set in the 635-mile voyage two years ago. Rima and Deep Powder, two new 60-foot yachts designed by Bruce Farr & Associates of Annapolis, Md., are favorites to win on corrected time under the International Measurement System, the handicap racing division in which they are competing.
+The biennial competition draws both amateur cruising boats and state-of-the-art race boats. Jim Mertz, an 87-year-old yachtsman from Rye, N.Y., is competing in his 27th Bermuda race. He is skipper of Symphony, a Beneteau 42.
+British Powerboat on Way
+Cable & Wireless Adventurer, the odd-shaped, 115-foot powerboat attempting to break an 83-day record around the world, is expected to arrive in New York City around 8 A.M. on Tuesday. The custom-made British boat left Gibraltar last April 19 in its 26,000-mile quest to beat a round-the-world time set in 1960 by the nuclear-powered submarine the U.S.S. Triton.
+It is expected to leave New York Wednesday morning for the last leg of its journey, a 3,000-mile trans-Atlantic voyage back to Gibraltar. The powerboat will be docked at North Cove Yacht Harbor, a marina near the World Financial Center.
+Young America to Sail
+Also at North Cove Yacht Harbor will be Young America, the 75-foot training boat for the New York Yacht Club's America's Cup challenge in 1999-2000. The white-hulled sailboat was formerly named Spirit of Unum, a trial horse in San Diego for the PACT '95 cup syndicate. It is expected in New York from Newport, R.I., on Thursday, and will stay through July 4. It will take potential donors and sponsors for a sail.
+THE BOATING REPORT: NOTEBOOK"
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+LEAD: Four black political detainees who escaped to the West German Embassy left the building today after the police guaranteed their freedom.
+Four black political detainees who escaped to the West German Embassy left the building today after the police guaranteed their freedom.
+'We emerge feeling victorious,' said Ephraim Nkoe, one of the four blacks who fled to the embassy in Pretoria on Monday from Hillbrow Hospital in Johannesburg, where they had been admitted after joining other detainees in a hunger strike.
+The men left the embassy and returned to Johannesburg, where they embraced relatives before addressing a news conference.
+They called for the release of an estimated 300 anti-apartheid campaigners still detained without charges and issued a special appeal on behalf of Sandile Thusi, hospitalized in critical condition in Durban after fasting for 33 days. Mr. Nkoe said the South African Law and Order Minister, Adriaan J. Vlok, sent a police general to Durban to determine if Mr. Thusi, 26 years old, should be released.
+The four escapees had been held for periods of 10 to 23 months. In addition to Mr. Nkoe, 28, they are Job Sithole, 21; Mpho Lekgoro, 24, and Clive Radebe, 28, all leaders of youth groups affiliated with the United Democratic Front, the nationwide anti-apartheid coalition that has essentially been banned."
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+BY selectively breeding molecules, a California laboratory has created a new tool for manipulating the genes of living organisms. The achievement, which is reported in the current issue of the journal Science, might one day yield new weapons against a variety of human diseases, including AIDS.
+The technique developed at the Scripps Research Institute in La Jolla, Calif., by Dr. Gerald F. Joyce and his colleagues mimics natural evolutionary processes by subjecting test-tube solutions of genetic molecules to the same kinds of conditions that produce new animal species.
+Dr. Joyce has succeeded in inducing populations of ordinary RNA molecules to produce a new type of RNA molecule that can efficiently chop a DNA molecule apart, something no known RNA molecule had done. Dr. Joyce showed that this laboratory-made RNA molecule could be used as a template for making a snippet of new DNA, which when inserted into the common bacterium E. coli, rendered it immune to attack by a virus called M13.
+""Protecting a bacterium against a disease that attacks only bacteria may not seem very practical,"" Dr. Joyce said, ""but it demonstrates a principle that may have far-reaching applications in attacking human diseases. For me, the main satisfaction was in finding that molecules can evolve, just as animal species evolve when they are subjected to selective evolutionary pressures. It's Darwinian evolution in a test tube."" Seeking Chemical Loopholes
+Dr. Joyce's work was partly financed by the AIDS division of the National Institutes of Health, with the object of finding chemical loopholes through which the DNA-altering ability of the human immunodeficiency virus, which causes AIDS, could be disabled.
+The work may also shed light on the origin of life. Many scientists believe that variants of RNA, the messenger molecule that instructs amino acids to assemble themselves as proteins, evolved to produce a host of other important molecules, including DNA, the master genetic blueprint of most living organisms.
+By promoting the evolution of molecules rather than entire organisms, the Scripps group vastly increased the number of constituents in the evolutionary process, and simultaneously reduced the time needed to create new variants.
+Dr. Thomas R. Cech of the University of Colorado in Boulder, who won the 1989 Nobel Prize in chemistry, described Dr. Joyce's achievement as ""a real landmark."" The novelty of Dr. Joyce's system, Dr. Cech said, was that instead of attempting to design and build a new genetic molecule with the desired characteristics, the Scripps group simply created laboratory conditions ""to let nature do the work."" Using RNA Enzymes
+The molecules Dr. Joyce used in his experiments belong to a class that Dr. Cech discovered, for which he won the Nobel Prize. Before the work of Dr. Cech and his co-winner, Dr. Sidney Altman of Yale University, RNA was considered to be purely a genetic messenger with no other functions. But the two scientists found that RNA can also act as an enzyme, a substance that promotes chemical reactions. They found that certain RNA enzymes, those that Dr. Cech named ribozymes, could break apart and reorganize messenger RNA, thereby altering its genetic message.
+Although ribozymes can efficiently cleave RNA molecules, they were thought to have little if any ability to cleave DNA molecules. But Dr. Joyce changed that view, creating ribozymes that have proved capable of splitting DNA fairly well.
+The technique Dr. Joyce used may give genetic engineers an important new tool for removing undesirable genes that cause human disease or for inserting self-destructive genes in disease organisms. H.I.V., for instance, has a genetic code consisting of RNA, but when it infects a healthy human cell, it copies the information from its own RNA code to the cell's DNA. Dr. Joyce said he believed that this infected DNA might be open to attack by some new ribozyme created by laboratory-induced evolution, offering a way to treat the disease. But he cautions that such a possibility is nowhere near realization. Mass Producing Molecules
+Dr. Joyce and his colleagues, Dr. Deborah Robertson and Amber A. Beaudry, said they had derived their starting molecules from a single-cell protozoan called Tetrahymena thermophila, an organism that thrives in very hot water like that found in volcanic geysers. The ribozyme derived from this peculiar organism can cleave DNA fairly well, but only under very hot, salty conditions. The investigators wanted to modify the ribozyme to work at temperatures and salt concentrations like those in the human body.
+Ribozymes do not reproduce themselves, but molecular biologists can mass produce copies of such molecules using a technique called polymerase chain reaction. A procedure similar to that was modified by the Scripps group to introduce random errors in the ribozyme copies it produces, resulting in myriads of slightly differing variations. In a single generation of copies, some 10 quadrillion molecules are produced in the Scripps laboratory, each with some chemical variation from the original.
+Dr. Joyce explains that all the variants produced by a single error-prone copying run are simultaneously given a chance to try to cleave a certain kind of DNA molecule. Most fail completely, but a handful may show some slight skill. When a variant succeeds in chopping the DNA molecule apart, it automatically attaches a snippet of the DNA to itself, which serves as a chemical tag that is recognized by the copying process.
+In the next generation, the copying procedure singles out the tagged molecules and makes more copies of them. The procedure is repeated every day or so, introducing another 10 quadrillion variations each time and each time coming a little closer to producing a molecule with the desired properties.
+It took only 10 generations, bred in only about two weeks, for nature, acting under Dr. Joyce's control, to evolve the new ribozyme molecule that can cleave DNA efficiently at body temperature. He and his colleagues have no idea why or how the new molecule works as it does. ""We don't attempt to design molecules rationally,"" he said. ""We just stipulate what we want a molecule to do, and then let natural selection find the best way to go about it.""
+Does the accelerated evolution of special-purpose RNA enzymes reproduce some of the steps by which natural evolution led from the first flicker of life four billion years ago to the human race?
+Dr. Cech believes this intriguing question must remain forever unanswered, since no ""fossils"" remain of any of the primordial molecules from which life arose. But for Dr. Joyce, molecules from each evolutionary generation remain in frozen storage, available to retrace evolutionary pathways and to start new ones."
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+LEAD: The sun did not break through until the ninth inning, but by then it was already too late. Jesse Barfield had swung and missed at a third strike, then returned to the dugout and quietly watched the final moments of another meaningless game at the Stadium.
+The sun did not break through until the ninth inning, but by then it was already too late. Jesse Barfield had swung and missed at a third strike, then returned to the dugout and quietly watched the final moments of another meaningless game at the Stadium.
+His afternoon was bleak and barren, just as the game had been, just as it should be when the closing days are in sight and there is nothing to play for.
+But while the Yankees were handed a 3-0 loss yesterday by the Seattle Mariners, their sixth defeat in seven games, Barfield's future with the team may be taking a step forward. Bob Quinn, the team's general manager, said it was possible that the Yankee right fielder could be signed to a multiyear deal soon, perhaps before the season ends.
+Quinn and Joe Maenza, the attorney representing Barfield, denied a report that the player had agreed to a three-year, $5 million contract. But both indicated an agreement could be near, and Quinn said he expected to meet again with Maenza this week.
+'The parameters have been spelled out, although there are things within the parameters that have to be worked out,' Quinn said yesterday. 'But any problems we're having are not insurmountable. We would hope to have something done at the end of the season or shortly thereafter.' Mixed Season for Barfield
+Barfield, acquired on April 30 in a deal that sent Al Leiter to the Toronto Blue Jays, has endured a season of mixed results. He is batting .241 with the Yankees, although he has hit 17 of his 22 homers with them, second only to Don Mattingly. He is in a 1-for-13 slump and has struck out 138 times this season, but his 15 assists with the team are the most since Dave Winfield had 17 in 1982.
+But the Yankees sense a distinct need for the outfielder, who turns 30 years old next month. They know they cannot assume a complete recovery by Winfield, who underwent back surgery last March, and without Barfield, it would leave them short of a right-handed power hitter.
+'I'm not thinking about that,' Barfield said of next season. 'It would be nice to play here, but the ball is in their court.'
+Maenza, reached yesterday in Boca Raton, Fla., said he believed the negotiations were progressing well, although he indicated there were still areas to be discussed.
+'I have a good feeling about the way they're going,' he said. 'They have an interest in him, and they're realistic about having to pay him what he's worth. I think it's going to get done.' Best Wishes
+Barfield, who is earning $1.3 million this season, has repeatedly said that he has no pangs over the trade that sent him from the team leading the American League East to one contending for fifth place. He has never looked back and wondered, what if.
+'I wish them all the best,' he said of the Blue Jays, 'but I have nothing to do with them. I hope they win it all, but I'm happy here.'
+The final weeks have not been happy days for the Yankees, however. In losing two of three games to the Mariners, they were held to 5 runs and 16 hits. They have also begun to test the patience of their manager, Bucky Dent, whose record is 12-17 as manager and 2-6 since he signed a one-year extension Sept. 8.
+Asked if the players were simply playing out the string until the season reaches an end, Dent said: 'I hope they're not. All I'm doing is watching right now. I haven't said much. I'll find out who the players are who want to play and go with them.
+'I have a lot of patience, but sometimes it runs a little thin. I start to get a little edgy, and when I get edgy, I'll say something.'
+The Yankees, who were shut out for the 10th time this season, were blanked yesterday by Brian Holman, who pitched the first eight innings, and Mike Schooler, who worked the ninth for his 30th save.
+Walt Terrell gave up three runs in seven innings and lost his fifth game for the Yankees and 18th this season.  An Old Photo
+In one of their more memorable giveaways, the Yankees handed out plastic coffee mugs, each one containing a full-color team picture, to all fans in attendance. But of the 31 players and coaches shown on each mug, 10 are not in uniform now, including Manager Dallas Green and his four coaches, all dismissed last month."
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+'I represent todos paises (all countries),' Fragancia (Wilfredo Crispin) proclaimed during DLG's farewell concert on Saturday night at Irving Plaza. His Spanglish declaration summed up the group's successful plan to find an international audience by mixing and fusing rhythms from across the Caribbean and New York City, starting with salsa and reggae and adding rapping, rhythm-and-blues ballads, dance-club music and all kinds of Latin-American styles.
+DLG, which stands for Dark Latin Groove, was the brainchild of Sergio George, a producer who remade Latin pop in the 1990's; it was his laboratory for advanced border-crossing combinations. But to the women at Irving Plaza who squealed, danced and sang along at every opportunity -- so loud, in one song, that DLG's lead singer, Huey Dunbar, laughingly said, 'I can't follow that!' -- it wasn't the musical ambitions that mattered: it was the romance. Singing about endless kisses and irresistible beauties, Mr. Dunbar was promising love in the hybrid language that young Latinas take for granted.
+Onstage, every song was virtually a medley. What started as a ballad -- with Mr. Dunbar emoting with as many quivering Stevie Wonder turns and slides as Boyz II Men -- would soon crackle with salsa percussion, piano and horns, then cut back while Fragancia rapped in Spanish, then return to Mr. Dunbar's crooning, then drop to half-speed for the growling dancehall-reggae interjections of James De Jesus. Meanwhile the three vocalists were working through synchronized dance moves like the Backstreet Boys.
+There were stretches when DLG's unctuous pop side took over and Mr. Dunbar reached for a few vibrato-laden high notes too many. But the music's constant variety rescued him; Fragancia's rapid-fire raps grounded the songs, and Mr. De Jesus's interjections added humor. While the studio arrangements go through even more changes on DLG's three albums, the band onstage never ran out of rhythms. As a matter of casual overachievement, it kept slipping musicianly flourishes behind the pop sentiments.
+The group's farewell set was full of sentimental testimonials from the three vocalists: to one another (with jokes about backstage fights over wardrobe), to Mr. George (who briefly took over on keyboard), to the musicians (who were allowed to hijack the set with a series of percussion solos), to family and recording company, and to fans of every nationality and address. It brought on the singers from the opening act, the Cuban group Bamboleo, and a member of salsa's older generation, Cuco Valoy. And again and again, DLG called for applause for New York City, where cultures can't help mingling.
+POP REVIEW"
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+LEAD: Former President Ronald Reagan told Japanese audiences today that he welcomed Japanese investment in the United States and that Sony's recent takeover of a big motion picture studio might even 'bring back decency and good taste' to American movies.
+Former President Ronald Reagan told Japanese audiences today that he welcomed Japanese investment in the United States and that Sony's recent takeover of a big motion picture studio might even 'bring back decency and good taste' to American movies.
+Speaking at midpoint in his nine-day visit to Japan, Mr. Reagan addressed one of the most delicate recent issues in Japan-American relations by saying it was hypocritical for Americans to invest in other countries around the world and then oppose Japanese investment at home.
+'Some of those people don't know what they're talking about,' the former President told an audience of corporate executives and other wealthy business people at a black-tie dinner this evening, referring to critics of the proposed takeover of Columbia Pictures by Sony, the Japanese electronics company.
+'If America looks like a good investment, why, we should be pleased and proud of it,' Mr. Reagan said. He added that the United States remained the largest global investor in other countries and then commented, 'Who are we to bellyache about somebody else wanting to do that?'
+The former President made his comments in a speech and a television interview featuring some of his most freewheeling thoughts since leaving office in January. He appeared to be in a buoyant mood as a result of the affectionate greeting he has received since arriving here on Friday. Grateful for Quake Aid
+On several occasions, he told the Japanese how grateful he was as a Californian that $6.5 million had been raised privately so far to help victims of the northern California earthquake.
+He also used his platform to challenge Japan to use its enormous economic resources to increase aid to Poland, something that the Government of Prime Minister Toshiki Kaifu is considering. The Government is said to be uncertain and divided over how much aid to give.
+Addressing several other recent issues, Mr. Reagan defended President Bush's recent actions in Panama, saying Mr. Bush was correct in declining to use American troops stationed in Panama to back a military coup to oust Gen. Manuel Antonio Noriega. 'I think we'd lose most of our friends in Latin America had we done it that way,' Mr. Reagan said.
+Mr. Reagan, as he has before, also criticized China for cracking down on protesters in June. But in an unusual aside, he also suggested that the students might have been partly to blame for pressing their own claims too fast and too far, undercutting those who favored progress in China.
+'I love those young people, and I agree with what their feelings are, but did they handicap people who were quietly trying to do what they want?' he asked in the television interview. Cost of Trip Is $6 Million
+Mr. Reagan arrived here on Friday as the guest of the Fujisankei Communications Group, a news media conglomerate whose owners are politically conservative supporters of the former President and his policies. The group is paying more than $6 million to bring Mr. Reagan and his wife, Nancy, to Japan, including a $2 million fee to Mr. Reagan himself.
+Spokesmen for the Fujisankei group and for the Foreign Ministry have made no secret of their hope that Mr. Reagan would speak out against what Japanese fear is a growing protectionist sentiment in the United States. The former President stuck to generalities until now, but today he fulfilled the hopes of his Japanese hosts.
+In the television interview for the Fuji network, owned by Fujisankei, he was asked about the negative reaction in the United States to the Sony deal. 'I don't feel there's anything wrong with that,' Mr. Reagan interjected, adding that as a former actor 'I'm not too proud of Hollywood these days, with the immorality that is shown in pictures and the vulgarity.'
+'I just have a feeling that maybe Hollywood needs some outsiders to bring back decency and good taste to some of the pictures that are being made,' he added."
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+This year, James Cameron released a short documentary called 'Aliens of the Deep.' Mr. Cameron's premise was that there are underwater creatures on our planet that rival any outer space creature the 'Star Wars' or 'Star Trek' writers could dream up.
+Bob Cranston, an underwater cinematographer, offers something similar in 'Encountering Sea Monsters,' tomorrow's episode of the PBS series 'Nature.' The title suggests that whether the fabled Loch Ness monster exists or not, some absolutely real sea creatures are just as frightening, if not more so.
+Mr. Cranston concentrates on one class of marine mollusk: the cephalopods. That means octopi, nautili, cuttlefish and squid. Viewers learn, for instance, that the giant Pacific octopus has an approximate reach of 20 feet, can weigh 200 pounds or so, has skin that can change color and texture, has babies the size of a grain of rice, lives only three or four years and likes to make eye contact with humans.
+'Encountering Sea Monsters' is rather standard nature programming: pretty to look at and fairly to very interesting, depending on the viewer's emotional attachment to the subject.
+Locations include waters off Australia, Indonesia and British Columbia. Attractions include the pajama squid, whose body is striped like a prison uniform in an old James Cagney movie; the blue-ringed octopus, whose venom can paralyze and kill a victim in minutes (and no antidote exists, says the narrator, Tim Matheson); and cuttlefish with special cells that enable their skin to light up in vivid colors and ruffle gracefully like underwater chiffon.
+The hour offers its share of sex and violence. A male cuttlefish is cuckolded by another, who was clever enough to disguise himself as a female and then mate with the first fish's female right under his nose (or whatever cuttlefish have). Early in the show, a giant octopus kills and eats a crab that was desperately trying to hide.
+As for monsterhood, none of these creatures, with the possible exception of the hairy frogfish, look that terrifying. In fact, one small octopus, which carries a brown bottle wherever it goes, is almost lovable. When a human leaves it a much grander bottle, large and clear with a multimasted sailing ship inside, the octopus investigates the gift, considers for a moment, then picks up its beloved brown bottle and goes on its way.
+Nature  Encountering Sea Monsters  PBS, tomorrow night at 8; check local listings.
+Photographed by Bob Cranston. Narrated by Tim Matheson. Produced by Thirteen/WNET New York and National Geographic Television; Sue Houghton, producer; for 'Nature,' Fred Kaufman, executive producer; William Grant, executive in charge.
+TELEVISION REVIEW"
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+LEAD: SCHOLARS poring over every jot and tittle in the Bible and archeologists picking over stone ruins have long disputed the origins of the early Israelites. Were they conquerors sweeping through the fortified countryside of Canaan, as suggested by the story of Joshua? Sheep-herding nomads from the east?
+The result is a growing consensus among Egyptologists, Biblical scholars and archeologists that most of the early Israelites were Canaanites. Into their midst may have filtered some nomadic shepherds from east of the Jordan and others who had fled Egypt, assuming the story of Exodus has a historical basis. But they were mainly Canaanites who settled along the ridge running north from Hebron through Jerusalem far from the fortified city-states to the west.
+In an article published in the September issue of Biblical Archeology Review, Frank J. Yurco, an Egyptologist with the Field Museum of Natural History in Chicago, described his analysis of a hieroglyphic text in the Cairo Museum and four battle scenes carved on the Karnak wall that led him to conclude that the early Israelites were culturally close to the Canaanites and presumably emerged from that society in the 13th and 12th centuries B. C. The battle scene that Mr. Yurco says is 'by far the earliest visual portrayal of Israelites ever discovered' shows the people wearing ankle-length cloaks, the same style as the Canaanites, and not the short kilts and turbans of the Shasu, nomadic people that many scholars had associated with the origin of Israel.
+'The evidence from the Karnak reliefs contradicts the position taken by scholars who have tried to identify the Israelites with the Shasu,' Mr. Yurco wrote. 'The reliefs seem to suggest that at least some of the early Israelites coalesced out of Canaanite society, albeit Canaanites who did not live in the cities but who had withdrawn to the hill country, precisely where archeological remains as well as Biblical texts place them.'
+Dr. Lawrence E. Stager, Dorot professor of the archeology of Israel at Harvard University, praised the research as a 'brilliant comparison of a literary work with an artistic work' and said he agreed with the identification of the people depicted in one battle scene as Israelites being defeated by Pharaoh Merenptah, the son and successor of Ramses II.
+Calling the findings 'one of the most exciting new perspectives being brought to Biblical history,' Hershel Shanks, editor of Biblical Archeology Review, said: 'If we read the Bible, we get a simpler version of a group of people who simply wandered from Egypt into Canaan. The reality behind this is much more complex and equally fascinating.'
+This preceded by nearly a century the use in the Bible, in the Song of Deborah recorded in the Book of Judges, of the name Israel to designate the people's premonarchic tribal confederacy. They did not unite under a monarch until King Saul in the 11th century.
+Mr. Yurco's discovery grew out of his work with the University of Chicago's epigraphic survey of Egyptian temples and research for a doctoral dissertation he is preparing at the university's Oriental Institute. His first glimmering came when he found that four battle scenes carved on the Karnak wall had been mistakenly attributed to Ramses II, the pharaoh who ruled Egypt for much of the 13th century B. C. Hammers and Plaster It had been an understandable mistake. The centerpiece of that particular wall is the hieroglyphic text of the peace treaty that concluded the battle of Kadesh in Syria in 1275 between Ramses and the Hittite army. The four battle scenes that framed the treaty were therefore assumed to depict combat in that war.
+In his detective work, Mr. Yurco found that in the practice of the time, succeeding pharaohs had had their predecessors' names hammered out and plastered over and replaced with their own names. But when he scraped away the superimposed names, he determined that the original inscription was not Ramses II but Merenptah, pharaoh from 1212 to 1202. The visage of a pharaoh carved on a nearby block resembled not Ramses but the figure found on Merenptah's tomb.
+'That was when I made the conceptual leap that the battle scenes were from Merenptah's campaign against Canaan,' Mr. Yurco said in an interview.
+His next step was to re-examine the Merenptah Stele, a black granite tablet inscribed with the account of the pharaoh's military exploits. The text, discovered a century ago and housed in the Cairo Museum, includes the earliest known mention of Israel.
+In describing Merenptah's four victories in Canaan, the text said: 'Askelon has been overcome. Gezer has been captured. Yano'am was made non-existent. Israel is laid waste, his seed is not.'
+Mr. Yurco then connected the victories mentioned in the text with the four battle scenes at Karnak. The first was specifically identified, he discovered, as the town of Ashkelon. The next two could be Gezer and Yano'am, as they were fortified places lying on a line between Ashkelon on the coastal plain into the hill country. But the fourth scene, with pharaoh's horse and chariot team in the center and running roughshod over fallen soldiers, shows no walls or towers or other evidence of a fortified city.
+This reminded Mr. Yurco of a clue from the Merenptah Stele. Hieroglyphic writing consists not only of signs intended to be vocalized, but also signs, known as determinatives, whose sole function is to indicate the category or kind of word to which they are attached. The determinative used in the stele with the names of the first three sites is the one regularly used for city-states. The name for Israel, however, is written with a determinative that is usually reserved for peoples without a fixed city-state area, or rural and possibly nomadic people.
+'The Enemy Men Depicted'
+Only the fourth scene is of a battle against any enemy without a fortified town. 'If I am correct,' Mr. Yurco concluded in his article, 'then the enemy men depicted in the fourth battle scene are Israelites.'
+And the 'most significant aspect' of this depiction, Mr. Yurco added, is that the Israelites are dressed like Canaanites and not Shasu. Another implication, he said, is that the reliefs provide 'striking confirmation of accumulating archeological evidence that the initial Israelite settlements were in the highlands and that they were in open, dispersed villages with no substantial fortified towns.'
+Dr. Stager said the early Israelites were probably a 'hodgepodge of different segments of society' that was brought together by their rural experience. He said no scholars today seriously believe the early Israelites came as conquerors. Some argue that they split off from Canaan in a peasant revolt against the upper class, or else were escaping the overcrowded lowlands. Many scholars in modern Israel still favor the idea that early Israelites were pastoralists who migrated into the hill country of Canaan.
+Mr. Yurco and some other scholars say the new findings do not rule out the possibility that people from the Exodus also were a component of the new rural society. Most Biblical experts downplay the Exodus story, however, because they are not certain of its historical reality or, if true, when it occurred.
+'I would not say we have the whole constituency of early Israelites yet,' Dr. Stager said.
+But from their depiction in the battle scene on the Karnak wall, they dressed like Canaanites who lived in remote rural settlements. The Canaanites from whom most early Israelites presumably came eventually were swallowed up by history, first through a change to the Greek name of Phoenicians and then vanishing altogether after the time of Jesus. The land of Canaan is now modern Israel and parts of Sinai and Jordan."
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+Foreign Minister Amr Moussa and his Israeli counterpart, Shimon Peres, said today  that the Israelis and the Palestinians were working to formulate a cease-fire aimed at ending months of bloodshed, but the violence showed no sign of receding.
+'Mr. Peres told us that there is an intention to continue talks between the Israelis and the Palestinians in order to achieve a cease-fire,' Mr. Moussa said after a meeting between President Hosni Mubarak of Egypt  and the Israeli foreign minister. 'This would be a major step by both parties to get back to a situation where they can talk. But that is what we heard; it remains to be seen what occurs.'
+Mr. Peres said Israel would also begin taking immediate steps to relieve the economic troubles suffered by the Palestinians. He did not specify those steps, although the Israeli government recently said thousands more Palestinians would be given passes to resume work inside Israel.
+Mr. Peres, before leaving Egypt for a similar discussion in Jordan with King Abdullah II, noted that a cease-fire was the priority.
+'There are still issues that we have to clarify, and I don't want to claim that everything is O.K. and everything is agreed,' Mr. Peres said. 'But I can say that an agreement on how to handle the situation was really achieved.'
+Mr. Mubarak said that if a cease-fire held for four weeks, the two sides could resume peace negotiations.
+Muhammad M. Sobeih, the Palestinian envoy to the Arab League, said that the cease-fire talks were being held between top Israeli and Palestinian security officials under American auspices, and that an agreement on a truce might be reached soon.
+Mr. Peres was the most senior official to visit Egypt and Jordan, the only two Arab nations to have formal peace treaties with Israel, since the election of Ariel Sharon as prime minister in February.
+Egypt and Jordan developed a joint proposal last month suggesting a path back to peace negotiations. Their plan suggests that Israel lift its blockade of the occupied territories, withdraw tanks and troops positioned around Palestinian towns in the last seven months and transfer tax revenue withheld from the Palestinian government. It also mandates a freeze on all settlement building.
+Israel rejects any such freeze, and the two sides also differ on where peace talks might resume. Israel at first rejected the proposal outright, but later backtracked and suggested changes. Mr. Peres brought some of those reservations with him, and Egyptian and Jordanian officials said they would study them.
+Egypt made it clear, however, that it was not interested in getting bogged down in talks about talks. 'We are not proposing to start a new process to discuss the Egyptian-Jordanian paper,' Mr. Moussa said.
+In Israel and the Palestinian territories, there was no letup in the two sides' brutalizing each other.
+Two bombs targeting Jewish settlers were detonated in the West Bank, one a car bomb that killed the Palestinian suspected of trying to attack a school bus. The Israeli police blew up a third bomb, placed in the coastal town of Netanya.
+In Gaza, Israeli tanks shelled the Khan Yunis refugee camp in Gaza and a Palestinian intelligence post, with at least three Palestinians reported wounded. Despite an order by Yasir Arafat, the Palestinian leader, to halt mortar attacks, Palestinians fired shells into an Israeli settlement, but no one was hurt.
+On Saturday, Palestinian gunmen shot dead an off-duty Israeli soldier and wounded four of his passengers in a drive-by shooting. In Bethlehem, Israeli troops killed an activist from Al Fatah, Mr. Arafat's movement, in an exchange of fire and wounded his 5-year-old son.
+Similar tit-for-tat attacks wrecked all previous attempts at establish a cease-fire, and any such effort would be extremely fragile.
+Palestinians voiced skepticism that Mr. Sharon would do much more than roll his tanks around a bit, and some political groups said that merely getting back to where the talks were last September would be ignoring the frustration that lead to the Palestinian uprising.
+On the Israeli side, Mr. Sharon used a telephone call to King Abdullah to reiterate that he would not negotiate under fire. 'The prime minister said that the situation on the ground is intolerable and, except for words, the Palestinian Authority is not doing anything serious,' said a statement from his office.
+Although even some Israeli officials noted that negotiations were necessary at some minimal level to achieve at least a cease-fire, neither side views those talks alone as bringing stability.
+'After the cease-fire, the Israelis and Palestinians cannot just stare at each other,' said Mr. Abdel Maguid. 'They have to move forward in the peace process, to discuss and solve the problems that lead to the current situation.'
+Correction:  May 1, 2001, Tuesday  Because of an editing error, an article yesterday about attempts by Egypt and Jordan to restart talks between Israel and the Palestinians omitted the full name and the affiliation of an Egyptian scholar who assessed the prospects. He is Wahid Abdel Maguid, deputy director of Al Ahram Center for Strategic Studies."
+False,False,True,False,False,True,False,False,False,False,True,False,False,True,True,False,False,False,True,True,False,True,True,True,True,False,True,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,True,True,False,False,True,False,True,False,True,True,True,True,False,False,True,False,False,True,True,False,True,True,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,True,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,True,True,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"Sports of The Times; Lebow Won His Personal Marathon
+THE best way to remember Fred Lebow is smack in the middle of his own race. I could tell you about the fraternal warmth I always felt whenever Fred Lebow would sidle up to me at somebody else's party, probably wearing a jogging suit and running shoes, witty and perceptive in his lush Transylvanian accent, even when he wasn't pushing his own event or explaining away some problem, which was always, you understand, extremely minor.
+Fred died yesterday, exactly four weeks before his event, the New York City Marathon, which has become the most delightful sporting day in New York, every year.
+Charming hustler that he was, he brought in big-time appearance and prize money at the front end of the marathon, but the reason so many of us enjoyed him was that he turned this giant city into a playland one Sunday every November.
+He arranged for thousands and thousands of people, fat and skinny, young and old, from dozens and dozens of countries, to romp through the five boroughs, a celebration of human will.
+I could give a private or historical view of a man I liked very much. But better, I should tell you about Fred and the New York City Marathon.
+There were two marathons I will remember more than all the others. One in 1981, when Fred was still totally Fred, the master of nuance and detail, controlling that marathon from an open Jeep. The other was in 1992, when Fred was operating on sheer nerve after coming through surgery for brain cancer, when he controlled that marathon on his own two feet, in the company of his dear friend Grete Waitz.
+The marathon was already a big deal by 1981, the time I rode in the pace car with Fred. He was hardly inhibited by my presence. At the staging area in Staten Island, he pushed and pulled and cajoled and threatened everybody, from hard-bitten city cops to timid volunteers.
+""Allan, I have just heard a rumor,"" he gritted into a walkie-talkie, at Allan Steinfeld, the longtime backbone of the New York Road Runners who yesterday became the 31,000-member club's new leader. ""The rumor says the race will start at 10:45 instead of 10:38. It will start at 10:38.""
+A man with a movie camera asked him for ""a little time"" and as he moved on he snapped, ""I am Fred Lebow and I do not have any time.""
+As the cannon erupted to start the race, Lebow spotted a few runners who had infiltrated the elite front ranks. ""You hot-doggers, get back, you won't last to the other side of the bridge,"" Fred roared through a bullhorn. ""I know who you are, you hot-doggers.""
+I still hear that word, ""hot-doggers,"" as the ultimate insult for interlopers.
+He was as tough on the volunteers as the hot-doggers. As the parade entered Bay Ridge, somebody in the crowd shouted ""Nice, race, Fred,"" but Lebow was more concerned with cautioning: ""Move those water tables back. They're too close to the runners.""
+When the driver of the time-clock car refused to speed up, gesturing that the runners had to see the split times, Lebow shouted into the bullhorn, ""Leave the course!""
+Of all the people Fred fired that day, none left, and none displayed hard feelings afterward. That was just Fred.
+Coming into the strongly Hasidic neighborhood in the Williamsburg section of Brooklyn, Lebow called out in Yiddish, ""Lama heren,"" which he translated as, ""Let me hear it,"" but few of the black-frocked Hasids applauded. It took me years to even sense Fred's tangled feelings about his religion. His family had barely escaped Europe ahead of the Holocaust; most of the others kept the name Lebowitz and the Orthodox rituals, but Lebow had become worldly, a bachelor who dated many ""vimmen,"" a runner who trained on the Sabbath, a man who did business in the polyglot world. Yet I came to think that Fred was spooked by the impassive stares of the Hasids, almost as if they were judging him.
+(Somebody told me that at the end, Fred was speaking only Yiddish and Hungarian to one of his sisters; it reminds me that he always knew who he was and where he came from.)
+The last thing I remember about that 1981 marathon was the way he leaped off his Jeep to embrace Alberto Salazar and murmur ""thank you"" for the world record, and how he waited to embrace and thank Allison Roe a few minutes later. He was a good leader. In my column that day, I compared him with Patton racing through the French countryside to liberate Paris.
+In 1992, when he was recovering from brain cancer, a ghastly assassin, here was the indomitable Fred, coming back from an operation, not only running the marathon but running the marathon. Both ways.
+Waitz volunteered to run with him, willing her superb runner's body to run slowly while Fred willed his stricken body to run at all. I could see the changes in Fred. He was thinner, older, more gaunt, more preoccupied. He used to have an extra awareness of other people's personalities, even if just to flatter or criticize them for his own purposes. But now he was more introverted. He had become a case, his own life a desperate struggle, and he didn't have as much attention for other people. I mourned that part of him, but good grief, look how far he had come. I sat with them on a sunny morning in October as they planned their race in November. I described them as Hepburn and Tracy preparing for one more movie together.
+""In my wildest dream, I would like to finish half the race before the winner crosses the finish line,"" Lebow told her.
+""It's better to be conservative,"" Waitz said softly. ""I always say, 'Take the first 18 miles as transportation. Without wasting too much energy.' Then you can run. If we can get to First Avenue . . . .""
+He got to First Avenue. He got to where he and Waitz could hear the announcements: ""Fred is on the 21st mile. Fred is approaching the park."" Later Waitz would say, ""When we came into the park, I got goose bumps.""
+We all got goose bumps when the two of them crossed the line together in 5 hours 32 minutes 34 seconds, and they fell into a clinch, better than Hepburn and Tracy, both of them crying, surrounded by friends and family.
+That day I wrote: ""There have been many beautiful moments in the stadiums and arenas of New York, but this moment, on a roadway in Central Park, between a Romanian emigre and a Norwegian champion, could stand for all of them."" Later, of course, Fred wanted to know who had messed up at the starting line.
+The New York City Marathon will go on. The city should name something after him, maybe one street in each of the five boroughs he united one Sunday every November. But definitely the final stretch in Central Park should be named Fred Lebow Boulevard. I like the word ""boulevard."" It has such a grandiose ring to it, and Fred Lebow was a grandiose man who just happened to pull off all his dreams. Fate handed him a short race. With his gall, with his love of life, Fred Lebow turned it into a marathon."
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+The film and theater director Nicholas Hytner has been appointed to succeed Trevor Nunn as director of the Royal National Theater in London. He will take over in April 2003 for a period of five years.
+Mr. Hytner, 45, has worked extensively with the National Theater. As associate director from 1990 to 1997, he directed seven productions, including 'The Wind in the Willows' adapted by Alan Bennett, 'Carousel' by Rodgers and Hammerstein and 'The Madness of King George,' also by Mr. Bennett, which he went on to direct as a film. It was nominated for four Academy Awards and won both the Bafta and Evening Standard awards for best British film. Other films he has directed are 'The Crucible' and 'The Object of My Affection.'
+He has also directed plays for the Royal Shakespeare Company, as well as opera productions, including Mozart's 'Magic Flute' and Verdi's 'Force of Destiny' for the English National Opera, and Mozart's 'Clemenza di Tito' at Glyndebourne. As associate director of  Lincoln Center, he has directed 'Carousel' and 'Twelfth Night.'
+His only forthcoming commitment before taking up this post is a commercial Broadway show, 'Sweet Smell of Success,' scheduled for February 2002.
+'After that I will play it by ear,' Mr. Hytner said at a news conference at the National Theater yesterday.
+'I'm thrilled by the challenge of leading the National and working with a company of outstandingly creative people whom I've loved and admired for many years,' he said. 'I'm honored to be inheriting it from a great director and hugely encouraged by his support and the enthusiasm of the National Theater board.' Adding that he was looking forward to shaping the National, he also said, 'I love this place more than anywhere else I have worked.'
+Mr. Nunn, whose announcement last April that he would step down as director prompted months of speculation about his successor, said of Mr. Hytner, 'Some of his most important achievements have been at the National, so it is exciting that he has decided to offer himself for this newest challenge, and entirely fitting that the board have unanimously decided that he, who knows the National so well, should be the next director.'
+Mr. Hytner, whose well-received production of 'Mother Clap's Molly House' by Mark Ravenhill is currently in the National's repertory, will be the company's fifth director since it was founded by Laurence Olivier in 1963. Other directors were Sir Peter Hall and Richard Eyre."
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+In a ward of Yangon's Infectious Diseases Hospital, Myo Tun tried to shake hands with a visitor, but he was so weakened by AIDS that the muscles of his hand and arms had all but disappeared. He barely had enough strength to hold the prayer beads that are his final comfort.
+""I used heroin with my friends, and we always shared the needles,"" said Mr. Myo Tun, 24 years old, as he drew a green cotton blanket beneath his bare feet. ""Even today my friends do not worry about AIDS. They are not sick yet.""
+Dr. Rai Mra, a hospital physician, said he had no access to AZT or any of the other specialized drugs that might slow the ravages of the disease in Mr. Myo Tun and several other AIDS patients in the hospital, a center for AIDS treatment in Myanmar, formerly Burma.
+""We don't have the facilities that other countries have,"" he said with the shrug that is second nature to Burmese doctors, such is their chronic shortage of modern medicines and equipment. ""Any help would be welcome.""  A Medical Catastrophe
+One of the world's most isolated and secretive nations is opening up enough to admit that it has fallen victim to a medical catastrophe: an AIDS epidemic that is likely to ravage this country as it is now devastating Myanmar's neighbors.
+Doctors and health workers say a disastrous mix of factors -- a large population of intravenous drug users, a migration of prostitutes, a grave shortage of condoms and testing equipment, and a conservative social structure that makes AIDS education difficult -- means that Myanmar faces an AIDS crisis as serious as that now found in neighboring Thailand and India.
+But unlike its neighbors, Myanmar is the target of sanctions that have choked off most of the international aid for health projects that might control the spread of the disease.
+""Cutting off aid has hurt both the innocent victims of the epidemic and the potential victims,"" said Albina du Boisrouvray, founder of the Association Francois-Xavier Bagnoud, one of the few Western charities to support AIDS projects here. ""They don't have enough condoms. They don't have enough testing kits to test the blood. I'm flabbergasted by what they don't have.""
+Estimates from international health organizations place the number of people in Myanmar infected with H.I.V., the virus that causes AIDS, at 150,000 to 450,000 in a population of about 43 million. The infection rates found in tests of intravenous drug users here -- nearly 80 percent are H.I.V. positive -- are the highest recorded anywhere.  An Uncooperative Neighbor
+Myanmar's neighbors are a big part of the problem, especially Thailand, where thousands of Burmese women are working as prostitutes, many of them in conditions that amount to slave labor.
+""What the Thais do is horrible,"" said a foreign health worker in Yangon, the Burmese capital. ""They recruit Burmese girls -- and they are girls -- and tell them that they will work as maids or waitresses. When they get to Thailand, they are forced into prostitution. And when they get AIDS, they are pushed back across the border.""
+Foreign health workers generally have few kind words for Myanmar's military Government, which has an abysmal human rights record. But on the issue of AIDS, they say, the Government appears to understand that it has a disaster on its hands, and to be doing something about it.
+""We realize this is one of the major health problems in Myanmar,"" said Dr. Myo Thet Htoon, the manager of the AIDS program of Myanmar's Ministry of Health. ""We know it could reach the whole population if we are not intelligent enough to prevent it.""
+According to the World Health Organization, the first H.I.V. infections were detected in Myanmar in 1988. In 1992, the last year for which full-year figures are available, 1,640 people tested positive for the virus out of 75,000 tested.
+Initially the principal transmission route for the virus was needle-sharing among intravenous drug users. But increasingly it is spread by sexual contact among heterosexuals, duplicating a pattern found in Thailand, where 800,000 are now estimated to be H.I.V. positive out of population of 57 million. The Money Is Lacking
+Thailand's AIDS-prevention program -- with its distribution of free condoms, widespread testing and vast public education program -- is considered a model for the developing world. But across the border in Myanmar, one of the world's poorest countries, with a per capita income of less than $900 a year, the Government says there is no money for a comparable effort.
+Nearly a third of the blood supply here goes untested for the H.I.V. virus because of a shortage of test kits, which cost as little as 70 cents apiece. International aid groups donated about 1.2 million condoms to Myanmar last year, but that is not nearly enough to meet demand. Outside large cities, condoms are often impossible to find, and they carry a price -- about 10 cents each -- that is out of the reach of the very poor.
+The United Nations has stepped in to help with education. In 1991, Unicef produced a 60-minute film for Burmese television, ""Poisonous Love."" The central character in the film is a young man who contracts H.I.V. from a prostitute. He then goes on infect his wife and, possibly, his newborn child.
+It took Unicef a year to persuade the Burmese junta to show the film, and there was a long struggle with Government censors who insisted that a scene showing condoms be cut because it might offend many in this deeply conservative Buddhist country.
+The scene was left in only after Unicef made a direct appeal to Lieut. Gen. Khin Nyunt, the head of Burmese military intelligence and the man often described by diplomats as the first among equals in the junta.
+""Khin Nyunt's wife is a physician, thank goodness,"" a Western health worker said. ""Otherwise, it might never have gotten on the air."""
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+Former Prime Minister Felipe Gonzalez today formally joined the defense team of two senior officials who served in his Government in the 1980's and are appealing 10-year sentences for their roles in the kidnapping of a suspected Basque separatist.
+Mr. Gonzalez, 56, acting as a lawyer for the first time in nearly 20 years, co-signed appeals to the Constitutional Court, Spain's highest tribunal, for his Interior Minister, Jose Barrionuevo, and his Director of State Security, Rafael Vera.
+They are seeking to overturn a Supreme Court conviction on July 29 for their roles in the December 1983 kidnapping. The court also convicted 10 lower-ranking officials who served under Mr. Gonzalez, but he is helping just the top two aides, the only defendants who maintained their innocence.
+Mr. Gonzalez, a Socialist, led Spain from 1982 to 1996, when he lost an election to the conservative Popular Party. He insists that the kidnapping trial was motivated by his political adversaries.
+Mr. Gonzalez is now being talked about to head the European Union's Executive Commission in 2000, but he has been dogged by questions, revived at the trial, that his Government ran a 'dirty war' using a shadowy organization called the Anti-Terrorist Liberation Groups. It is blamed for killing 27 suspected Basque separatists from 1983 to 1987.
+The 1983 kidnapping was the first action publicly claimed by the organization. But the victim turned out to be a French furniture dealer, Segundo Marey, not a Basque terrorist. He was released 10 days after being abducted from his home in southern France.
+At the time, the Basque underground group E.T.A. -- whose initials in the Basque language stand for 'Basque Homeland and Liberty' -- used southern France as a sanctuary. Spanish authorities blame E.T.A. for about 800 deaths in its 30-year-old struggle.
+The Supreme Court ruled in 1996 that there was insufficient evidence to charge Mr. Gonzalez in the kidnapping case."
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+Linebacker Mo Lewis had been patient, not complaining about his reduced role on the Jets' defense. But last Sunday, he showed the Jets what they had been missing.
+Lewis was named the American Football Conference's defensive player of the week for his performance against New England: five tackles, one sack, an interception, a deflected pass that was picked off by Victor Green and returned for a touchdown and a 3-yard run on fourth-and-2 out of a fake field-goal formation.
+'I'm just a team guy,' Lewis said today. 'Of course I've been disappointed I was on the sideline because I always want to be on the field.'
+Before today, Lewis had not spoken with the news media because he did not want to discuss his unsettled contract situation.  Lewis, a two-time Pro Bowl selection, was tagged as the team's franchise player in the off-season but contract talks broke down.  Lewis, who has been with the Jets his entire 10-year career, signed a one-year, $4.2 million contract, and he is most likely to leave after this season, replaced by John Abraham.
+But Lewis's performance Sunday is sure to help his market value. Lewis had not played in the nickel package this season because Coach Al Groh wanted to give him some rest and give Abraham an opportunity to establish himself. The reasoning was sound: although Lewis played in 95.2 percent of plays last season, according to Jets' records, most of his 38.5 regular-season sacks have come on first and second downs. But Groh said he had a gut feeling about putting Lewis back in on third downs and he played nearly every one last week.
+The result was immediate, even though Lewis said he was not in the flow of the game because it was his first time playing every down this season. On a third down early in the third quarter, Lewis sacked Drew Bledsoe for a 12-yard loss, forcing the Patriots to punt from deep in their own territory. Then, on a third-and-5 in the fourth quarter, Lewis intercepted a Bledsoe pass at New England's 36-yard line.
+Lewis did not lobby Groh to increase his playing time, and he will not say that he deserves to play every down against Miami Monday night, in what is sure to be a battle of stellar defenses.
+'You have to sit back, as a leader, you can't always be forceful,' he said. 'You have to be humble. Being on the sideline is tough. When the game is over, you felt like it was a void, that you didn't really play a complete game. I missed it.'
+So did his teammates. They universally say that Lewis is the best player on the defense, and his absence on passing situations bewildered them as much as it did Lewis.
+'You wonder why,' cornerback Marcus Coleman said. 'Eventually, the cream rises to the top. Everybody in this league knows Mo belongs out there.'
+Said Green: 'If we play 70 plays, he's got to be on the field for 70 plays. He can't be on for 30 plays, then you limit what he can do.'
+Lewis's adjustment period began with the arrival of Mike Nolan, the defensive coordinator who replaced Bill Belichick, and continued with his diminished role. But that period may be coming to an end. He is content with his role, and the whispers about the bumpy transition to Nolan's system have subsided.
+'When you go into a marriage, everything is new to you,' Lewis said. 'When it's one way, and you felt it was the best relationship -- and I mean the relationship with Belichick -- and here comes a new person into your life, you're like: 'It's my way or the highway.' Being in a relationship, everybody has to learn how to compromise. It went both ways and it's working out pretty good.'
+EXTRA POINTS
+More fun with the injury report: center KEVIN MAWAE is listed as doubtful with a sore foot, but he insisted he was fine, and would practice on Wednesday, but he did not. 'I'm 100 percent going to play. I missed one practice in 11 years,' Mawae said before practice. 'I haven't missed a game since I was a freshman in college.' . . . But linebacker JOHN ABRAHAM, who is listed as questionable with a stomach muscle pull, did not practice and he seems less likely to play Monday. . . . Tight end ANTHONY BECHT (sprained knee) and running back BERNIE PARMALEE (hamstring) were both listed as questionable. Parmalee did not practice and Becht participated in individual drills.
+FOOTBALL"
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+The macho, conservative world of Mexican politics has finally begun to show off its more feminine side as political parties battle as never before to win the votes of women.
+Male strippers were hired to perform at one campaign rally. Television advertisements raised questions about candidates' relationships with their former wives, a subject long considered taboo for public discussion. And while the participation of candidates' families is common in the United States, the high-profile roles of political wives and daughters  in Mexico this year has signaled a new opening for women and women's issues in government.
+Because of their numbers, women have been strongly courted by political candidates in Mexico since they gained the vote in 1953. But in Sunday's presidential election -- currently a statistical dead heat between the governing party candidate, Francisco Labastida Ochoa, and the center-right opponent, Vicente Fox Quesada -- women's votes may be decisive.
+Some 52 percent of the Mexican electorate are women; more than one-third of all voters are homemakers.
+Because of that power, the way the presidential candidates dress, speak and arrange their schedules, whether campaigning in urban centers or rural villages, is done to appeal to women.
+Leaders of the National Feminine Civic Association said that for the first time they had been invited to meetings with most presidential candidates to express their concerns about women.
+Mr. Fox's penchant for bluejeans and cowboy boots may make him appear more down to earth among working men, but to many women they make him just plain sexy. And Mr. Labastida has turned to his wife, Maria Teresa Uriarte de Labastida, to help infuse warmth and color into his image.
+Mrs. Labastida is an expert on Mayan culture who moves as easily at indigenous ceremonies as she does among the Mexican elite. Pretty and poised, Mrs. Labastida often wraps her husband in bearhugs on stage and gladly complies when the crowds demand she give him a kiss. Her visibility and political self-assuredness have brought comparisons to Hillary Rodham Clinton.
+And it seems that Mrs. Labastida shares the same instinct for political combat. At a recent rally of the governing Institutional Revolutionary Party, or PRI, for women at the National Auditorium, it was Mrs. Labastida who criticized Mr. Fox for his occasional use of vulgar language, suggesting that he was not only a bad influence on children but also undeserving of public trust.
+Women like Eva Nely Duarte Ochoa, 43, a homemaker and mother of three from Michoacan, hung on every word. 'To see the party recognize the talents of women, for me, is proof that they understand our needs and that they are going to pay attention,' she said. 'Women have always participated in all parts of society, but now we are being recognized for our contributions.'
+The efforts appear to have paid off for the PRI. While the most reliable final polls last week showed that the support for Mr. Labastida and Mr. Fox among voters in general was too close to call, they found that Mr. Labastida was slightly more popular among women.
+Homemakers, the largest segment of voters among women, have long been a bastion of support for the PRI, especially those who live in rural communities, have fewer years of education and hold more conservative beliefs. And it seems that support is holding.
+But women's strength no longer lies only in their numbers. There has also been evidence of a coming of age as women assume greater control in their homes and communities. According to the Mexican Association of Women Executives, more and more women have moved into the work force, with close to 40 percent of all Mexican women involved in some type of economic activity for the benefit of their families. Among workers, women have an average of 1.3 years more education than men. And more than 50 percent of all university students are women.
+Women tend to be more sensitive than men to how well the government fulfills its responsibilities, analysts say, and less afraid to express discontent. As homemakers, they are the ones who worry most about whether there is electricity, clean water, reliable transportation and good schools and hospitals. And in the workplace, they have become vocal advocates for fair wages and safe conditions.
+'Women more than any other group, except maybe young people, are the most active proponents for change,' said Martha Sahagun, a spokeswoman for Mr. Fox. 'They are the most forceful fighters and to limit their importance to their numbers devalues their significance.'
+Margarita Elena Tapia, a candidate for the Mexico City Council of Delegates, considers her campaign the product of women's new political power. The left-wing Center Democratic Party asked her to be its candidate, she said, because of a commitment the party had made to feminist organizations and because the grass-roots organizations at work in the neighborhoods Ms. Tapia would represent are led by women.
+'Only a few women have served as governors or as cabinet members,' she said, 'but smart politicians understand that their political bases are controlled by women.'
+If Mr. Fox, the candidate of the opposition National Action Party, is elected, he will be the first unmarried president of Mexico in recent decades. Both he and Mr. Labastida are divorced, and Mr. Labastida has acknowledged fathering a child out of wedlock. But neither candidate seems to have suffered in popularity because of these matters.
+Women like Olga Lidia Colina Gonzalez, a factory worker, said she supported Mr. Fox because she liked what he did for women when he was  governor in her home state of Guanajuato. 'He told everybody that women's words are worth as much as men's' Mrs. Gonzalez said. 'Before people used to use any bad language they wanted with me. Now, wherever I go, I get treated with respect.'
+Although Mr. Labastida has appeared to win more support among conservative women, it is generally Mr. Fox who espouses more traditional positions on women's and religious issues, especially abortion. A devout Catholic, he said he believes life begins at conception and therefore he personally opposes abortion.
+Early in his campaign, Mr. Fox was criticized as being too macho, and even homophobic, by feminist groups when he spoke about his feelings against abortion and when his campaign ran advertisements questioning Mr. Labastida's masculinity.
+Then Mr. Fox's pretty and articulate daughters -- two of the four children he adopted with his former wife -- drew on their own existence to soften Mr. Fox's position and blunt those attacks. In interviews with reporters, the daughters talked about how fortunate they felt that their biological mothers decided against abortion. 'Just look at us,' said Paulina Fox, a 17-year-old who won second place in a national public-speaking competition. 'Why would you end the life of someone when there are parents looking for children to care for and make happy.'
+Since then, Mr. Fox has gained ground among women, and most of it comes from the educated, urban, working women who would be expected to be against him.
+According to a June 5 poll in the newspaper Reforma, he beat Mr. Labastida among professionals older and younger than 40, among office workers in the private sector, among general workers in public and private agencies, and among students.
+'His position on abortion was the only thing that made me uncomfortable,' said Telia Cervantes Gutierrez, a 24-year-old law student. 'But when you see his daughters at his side, you know that he really believes it when he says there are alternatives to abortion.'
+At a Fox rally last Saturday in Mexico City's main plaza, Ms. Cervantes stood next to her mother, Evelia Garduno, 40, a homemaker who said she had decided to vote against the PRI for the first time.
+It used to be, Ms. Garduno said, that she was afraid to vote for change. Now, she said, change seemed the best hope for the future of her children. 'For years we have waited for better houses, better schools, better jobs,' she said. 'I do not want to wait anymore.'"
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+The rumors seem to wash in and out like the tide, but Mike Gallego does his best to ignore them. He has seen too many spring trainings, heard too much unfounded gossip, to listen now and wonder if there is reason to be concerned.
+Gallego is trying to win an everyday job with the Yankees, but he is also trying to avoid becoming the center of a trade that could occur before the end of the month.
+The Yankees' predicament is choosing between Gallego and Pat Kelly as their second baseman. It would be easy to keep both, except that the Yankees already have capable infield backups in Randy Velarde and Andy Stankiewicz, who are likely to make the team.
+There are few answers coming from either Gene Michael, the team's general manager, or Buck Showalter, the manager. Michael has said that he has heard from several teams interested in a middle infielder -- the Mets and San Francisco Giants appear to have needs -- but he won't comment on whether they involve Gallego.
+All Gallego knows is that most rumors seem to summon his name. Part of the Job
+""I'm aware of them, obviously,"" he said today before the Yankees played the Boston Red Sox at Fort Lauderdale Stadium. ""I've been around long enough to realize that most players go through this at least once in their career.""
+If this is a competition, Gallego seems to be losing. He was batting .161 at the start of the day, compared with Kelly's .308 average. Although players do not measure their success by spring statistics, it is sometimes the only way for a manager to determine the season's starters.
+""I'm not looking over my shoulder to see what Mike or Andy are doing and then saying that I've got to go out and get a couple of hits today,"" Kelly said. ""That would totally defeat the purpose of spring training. I'm just trying to get myself ready for anything.""
+Anything could happen. Showalter concedes that a trade remains a real possibility, but it isn't the only one. Many Ways to Go
+""Pat could go to Columbus,"" he said. ""There's a lot of different ways it could stack up. You could also keep Gallego and Kelly, but we really wouldn't want to do that.""
+The 25-year-old Kelly is youth, but Gallego, who is 32, represents experience to a team that might contend in the American League East. Kelly is making $160,000 this season -- small change in a sport of millionaires -- while Gallego has two seasons left on a three-year, $5.1 million contract.
+""I've been there, I've done it, I have the experience and I know how to win,"" said Gallego, who played on championship teams with the Oakland A's. ""As far as ability is concerned, I'm sure there are 20 minor leaguers who have better range and can run better. But I know how to read pitchers, how to read swings and how to turn the double play.
+""I might be showing a little favoritism, but if I were a general manager, I'd pick Mike Gallego.""
+Kelly said only this: ""I'm marketable. I'm not hard to get rid of -- or hard to keep.""
+Any suggestion of a return to the minors, though, does not go over well. ""I don't want to talk about it,"" Kelly said. ""That would be absolutely ridiculous.""
+INSIDE PITCH
+WADE BOGGS and his former teammates, the Boston Red Sox, finally met. Boggs, who signed a free-agent contract with the Yankees last winter, went 0 for 3 and was given a mixed ovation Saturday by a Fort Lauderdale Stadium crowd that obviously included many Red Sox fans. Before the game, he paused to talk with the Red Sox trainer and clubhouse manager but didn't speak with any of his former teammates. Asked earlier if he felt any emotion about the game, he said: ""Not a bit. There would be emotion if I got traded, but I made the decision to leave. The moment I walked out the door, the emotion went, too."" . . . BOB WICKMAN gave up one run in four innings in the Yankees' 3-1 victory over the Red Sox Saturday. JOHN HABYAN worked two innings for the victory, and NEAL HEATON, who seems likely to beat out JEFF JOHNSON for a role as left-handed reliever, threw three scoreless innings for the save.
+BASEBALL"
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+Acting Prime Minister Massimo D'Alema presented a new, lightly shuffled cabinet today that mostly underscored the fierce infighting within his center-left majority that forced him to resign on Saturday.
+Mr. D'Alema's new government -- Italy's 57th since World War II -- discarded ministers affiliated with three small parties that mutinied last week. He replaced them with two representatives of the Democrats Party, which was founded by his predecessor, Roman Prodi, and had been demanding more of a voice since it won 7.7 percent of the vote in the elections in June for the European Parliament.
+The key members of Mr. D'Alema's team, including Foreign Minister Lamberto Dini, Treasury Minister Giuliano Amato and Economics Minister Vincenzo Visco, remained in place. But Carlo Scognamiglio was replaced as defense minister by Sergio Mattarella, a member of the Italian Popular Party, the largest centrist party loyal to Mr. D'Alema.
+Mr. D'Alema and his ministers were sworn in this morning by President Carlo Azeglio Ciampi, but the new team still needs to go before the Italian Parliament for a vote of confidence. The Senate approved the cabinet tonight. The lower house is expected to vote on Thursday.
+When Mr. D'Alema resigned on Saturday, he said he did so to create a 'stronger, more stable' government that could last until parliamentary elections in 2001. But even if his government is narrowly approved, as is likely, it is bound to remain vulnerable to stalemate.
+The Italian political system, which still awards seats to even tiny parties on the basis of their shares of the national vote, is inherently fragile. Mr. D'Alema's majority, moreover, stretches uncomfortably across the ideological spectrum, including Communists but also centrists who, on many issues, lean right. Disputes over such issues as the budget and Kosovo caused Mr. Prodi to fall by one vote in October 1998.
+Mr. D'Alema has made electoral reform a key goal, saying a two-party system would give Italy the political stability it sorely lacks. Earlier this week, he held meetings with the three small parties, known as the Clover Alliance, whose rebellion had forced his resignation. But he was unable to convince them to support his plan for electoral reform.
+Mr. D'Alema wants to do away with proportional representation, but that would in effect wipe out the small parties. 'The country is looking ahead, while politics is struggling to turn over a new leaf,' he told Parliament today.
+Mr. D'Alema wants to complete formation of his new government by Saturday, and the selection process was so speedy that some new cabinet ministers found out about their new positions only when they were announced on television."
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+North Korea started to reopen a sealed plutonium reprocessing plant today, the most provocative and technically important step it has taken in recent days to revive a nuclear program that experts said could produce weapons within months.
+The International Atomic Energy Agency said North Korean officials had disabled surveillance cameras and broken through seals barring entry to a building housing the equipment needed to turn spent fuel rods from a nearby reactor into weapons-grade material.
+On Sunday, North Korean officials disabled cameras and broke seals around a pool holding 8,000 of the spent fuel rods at the Yongbyon nuclear complex, 55 miles north of Pyongyang, the capital. On Saturday, the North Koreans began dismantling monitoring equipment at the reactor itself.
+'The reprocessing plant is the important one, because that's where they extract the plutonium from the spent fuel,' said Mark Gwozdecky, spokesman for the International Atomic Energy Agency in Vienna. 'If we don't have our monitoring equipment in place, we're not in a position to assure anybody that this material is not being diverted for weapons.'
+The Bush administration emphasized that it would continue to deal with the issue diplomatically. But even as he endorsed diplomacy as the right course for now, Defense Secretary Donald H. Rumsfeld warned North Korea not to assume that the United States was incapable of confronting it militarily, even as Washington prepares for possible war with Iraq.
+'If they do, it would be a mistake,' Mr. Rumsfeld said at a news conference.
+The Korean developments also generated new bipartisan pressure from Congress for the White House to rethink its policy of not negotiating until North Korea drops its nuclear program.
+North Korea disclosed in October that it had continued to pursue a nuclear program in violation of a 1994 agreement. That announcement led the United States to cut off shipments of oil to North Korea.
+Since then the Pyongyang government has steadily ratcheted up the stakes in the confrontation, apparently in an effort to win economic concessions and security agreements from Washington at a time when the United States is focused on Iraq.
+Faced with the new provocation today, the administration said it would stick to its demand that North Korea drop its nuclear program as a condition for negotiations.
+'We think it's important to let the North Koreans know that the way to engage and integrate with the international community is to live up to treaties and agreements and obligations, not to break those agreements and then ask for more in return,' a White House official said.
+Asked whether the United States had set off the confrontation by labeling North Korea part of the 'axis of evil,' along with Iraq and Iran, thus backing Pyongyang into a corner, Mr. Rumsfeld replied that the responsibility rested with North Korea's totalitarian leadership.
+'The idea that it's the rhetoric from the United States that's causing them to starve their people or to do these idiotic things,' Mr. Rumsfeld said, 'misses the point.'
+Secretary of State Colin L. Powell continued the American efforts to maintain a united international front on the Korean issue.
+This morning, Mr. Powell spoke with his counterparts in Russia, France and Britain to emphasize the need for 'a peaceful resolution,' said the State Department spokesman, Philip Reeker. Over the weekend Mr. Powell spoke with the foreign ministers of South Korea, Japan, China and Russia.
+Mr. Reeker repeated the American position that there can be no negotiations while North Korea is pursuing its nuclear program. 'We will not give in to blackmail,' he said.
+Mr. Reeker said that as far as he knew, there was no dissent among those partners from the resolve to press North Korea.
+But the newly elected South Korean government, which takes office in late February, is pledged to engagement with the North, and is operating in an atmosphere of notably strong anti-American sentiment. Japanese diplomats have been privately concerned that isolating North Korea would backfire. Today Russia's deputy foreign minister, Georgi Mamedov, was quoted in a Moscow newspaper suggesting that the Bush administration was to blame.
+'How should a small country feel when it is told that it is all but part of forces of evil of biblical proportions and should be fought against until total annihilation?' Mr. Mamedov asked, according to Reuters.
+Mr. Reeker dismissed Mr. Mamedov's comments as 'totally absurd.'
+Members of Congress from both parties have also started to question the administration's position on negotiations.
+Senator Joseph R. Biden Jr. of Delaware, the departing Democratic chairman of the Foreign Relations Committee, said in an interview that the growing prospect of a nuclear crisis was likely to increase the pressure for international negotiations with North Korea, even if they do not directly involve the United States.
+On Sunday, the incoming Republican chairman of the committee, Senator Richard G. Lugar of Indiana, said in an interview with Fox News that the United States would 'have to talk, talk continuously to South Korea, to North Korea, to Japan, be heavily engaged.'
+Representative Curt Weldon, Republican of Pennsylvania, said he would like to travel to North Korea to establish some communication with its government. 'No dialogue is a recipe for disaster,' he said. 'That doesn't mean we have to appease or to cave.'
+Two Democrats, Senators John Kerry of Massachusetts and Charles E. Schumer of New York, wrote to Mr. Bush last week asking for an explanation of administration's policy. 'The administration has not enunciated a clear policy goal on North Korea,' Mr. Schumer said today. 'They say, 'Let's not talk.' But where is that leading us? You don't have to have a Ph.D. in foreign relations to understand that North Korea poses a greater danger to the United States than Iraq. But nobody quite knows what our policy is.'
+Although North Korea is now well down the path to completing all the steps it needs to begin processing weapons-grade plutonium at Yongbyon, officials said there was still time to avert a showdown.
+Mr. Gwozdecky said the atomic energy agency's inspectors on the scene had reported that the North Koreans had not finished breaking through all the seals -- a combination of electronic alarms and bolts -- to get into the reprocessing plant, a job he said would probably be completed on Tuesday. He said it would be weeks or months before the plant would be operational.
+Faced with a similar impasse with North Korea in 1994, the Clinton administration considered a plan to bomb Yongbyon, but instead managed to reach a negotiated settlement. But even as it has laid out a formal doctrine of pre-emption to head off threats to national security, the Bush administration has stressed that it is not contemplating military action against North Korea.
+Indeed, American officials played down any sense of urgency. Responding to questions about why evidence that Iraq has weapons of mass destruction requires the threat of immediate military action, while the certainty that North Korea is on the verge of being able to produce nuclear weapons does not, administration officials said Iraq had exhausted its chances to resolve its conflict diplomatically while North Korea had not.
+'The Iraqi regime has thumbed their noses at the United Nations annually for a good period of time,' Mr. Rumsfeld said. 'The situation in North Korea is a fairly recent one. The diplomacy that's under way there is in its early stages for the United States and the interested neighboring countries. It seems to me to be a perfectly rational way of proceeding.'"
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+LEAD: Britain and six Southeast Asian nations plan a new attempt to persuade the Bush Administration and the Vietnamese Government to agree to the forced return of thousands of Vietnamese boat people later this summer.
+Britain and six Southeast Asian nations plan a new attempt to persuade the Bush Administration and the Vietnamese Government to agree to the forced return of thousands of Vietnamese boat people later this summer.
+The six Asian nations are warning that unless the forcible repatriation is accepted, they will no longer allow boat people to land, and an international plan for looking after these refugees will collapse.
+The diplomatic campaign, which diplomats say will involve high level appeals in Washington and Hanoi next month is intended to secure American and Vietnamese backing for the return of boat people who are deemed to be economic migrants rather than political refugees by July 1.
+Asians Present an Ultimatum
+This deadline was set at a meeting in Manila earlier this month of the 29 countries that drew up the Comprehensive Plan of Action on Indochinese Refugees at a United Nations-sponsored conference in Geneva last year. If the United States and Vietnam agree, these countries will meet again in Geneva on June 26 to prepare the repatriation.
+The six members of the Association of Southeast Asian Nations - Singapore, Malaysia, Indonesia, the Philippines, Thailand and Brunei - which are caring for about 50,000 Vietnamese boat people, warned that unless the United States and Vietnam agree to forced return of economic migrants, they will refuse to accept any more boat people, as Malaysia is increasingly doing already.
+This would effectively destroy the Comprehensive Action Plan, diplomats say, under which these countries and Hong Kong agreed to offer asylum to boat people fleeing Vietnam but to resettle only those deemed genuine political refugees.
+Hong Kong Wants Thousands Out
+Britain has said it also wants to send back the roughly 8,500 Vietnamese boat people in Hong Kong to whom it has already refused refugee status as soon as another 1,700 who have agreed to go back on a voluntary basis have been sent home.
+By the end of the year British officials say about 40,000 of Hong Kong's estimated 55,000 boat people will probably have had their requests for asylum denied and be designated for forced repatriation.
+Britain and the six Asian nations want the forced repatriations to be carried out under the supervision of the United Nations High Commissioner for Refugees to ensure that the returnees are well treated by the Vietnamese and found housing and jobs.
+But the United States has blocked their plan, arguing that conditions in Vietnam are too bad for the refugees to be sent back there. Privately, British and Southeast Asian officials feel that the Bush Administration's attitude is chiefly influenced by fear of a political backlash among Vietnamese Americans if the United States supports repatriation.
+Britain Calls for Special Camp
+As a result, Britain has proposed that the Bush Administration build a special camp for the boat people on Guam, the American Pacific island, and accept boat people denied refuge there until it judges that conditions in Vietnam have sufficiently improved for them to go back.
+It has also asked the United States to pay up to $80 million toward the cost of caring for boat people currently housed in Hong Kong's refugee camps.
+The Administration has refused both requests, saying it cannot accept people who are not genuine refugees and that, in any event, housing them on American soil would only encourage more Vietnamese to flee the country.
+Fewer Arriving in Hong Kong
+While Hong Kong's overcrowded refugee camps have forced Britain to take the lead in pressing for forced repatriation in the past, refugee officials say fewer refugees are arriving there now and conditions are easing. In the Southeast Asian countries, on the other hand, the flow of new arrivals is still runnning at relatively high levels, and the governments are increasingly anxious to start sending boat people home, by force if necessary.
+According to the latest United Nations figures, Indonesia has received 5,087 boat people so far this year, lifting the total to 12,169. Thailand has taken in 3,772, giving it a total of 13,069. Malaysia, which already cares for over 19,000 boat people, has received another 988. And the Philippines with 9,092 has taken in another 200 this year."
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+A trade involving the Knicks, the Portland Trail Blazers and the Toronto Raptors that would bring Chris Dudley to New York is a step closer to happening, but may still run afoul of the National Basketball Association's complicated salary-cap rules.
+The Trail Blazers, who signed Brian Grant yesterday to a seven-year deal worth $63 million, re-signed Dudley, 32, to a one-year deal for the minimum salary of $272,250. An arbitration hearing in the next 10 days, two league officials said, will decide whether that contract allows Dudley to keep his so-called Larry Bird rights. If it does not, then a team that traded for him could not exceed its salary cap to sign him after this season, and he would probably stay in Portland.
+In the proposed trade, the Knicks would send John Wallace or Walter McCarty to Toronto for a draft pick, which would go to Portland for the 6-foot-11-inch Dudley. If Dudley retained his Bird rights, he could play at the minimum salary this season with the understanding that the Knicks would then exceed the salary cap to re-sign him."
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+Sure, BORIS and MAC and IVAN have big serves. But the most potent servers in tennis history will not be among those playing when the United States Open starts today.
+Don't agree? Then argue with SIDNEY B. WOOD Jr ., who has played against most of the finest players in an international career that began in the 1920's. For his money, Wood places ELLSWORTH VINES and FRANK SHIELDS -- stars of the 1930's -- on a different level than today's players.
+""The development in racquet-making adds 20 percent to every player's hitting power,"" said the 78-year-old Wood, a manufacturer of tennis-court surfaces. ""But it takes more than sheer speed for a high ace count. Deception rates first -- get the guy leaning the wrong way and he's yours -- with accuracy and power second and third.""
+At the time he won Wimbledon in 1931, Wood, at 19 years old, was the youngest winner of the men's event. The record stood for more than 50 years, until then 17-year-old BORIS BECKER won in 1985. Wood recalls Vines's averaging more than two aces a game in a 50-match tour against DON BUDGE , and he said that Shields averaged 2.2 aces a game for an entire season.
+""If you can do one ace a game, you're very good,"" Wood said.
+Here are Wood's ratings and comments on great servers: THE BEST Ellsworth Vines and Frank Shields: Their records set them apart. THE CONTENDERS Gottfried VonCramm: His serves were terminators. Pancho Gonzalez: At game-point against, averaged 87 percent on first ball. Ivan Lendl: Despite being handicapped by a high toss that can be wind-affected. Boris Becker: Battering-ram serve his Wimbledon meal ticket. Pete Sampras, Michael Stitch, Goran Ivanisevic: Once they cut their double-fault count, they have perfect motions as sho-ins for greatness. OTHER MEMORABLE ACERS Bill Tilden John Doeg Don Budge Dave Jones Jack Kramer Bobby Riggs Bob Falkenburg Lew Hoad John Feaver Mike Sangster Stan Smith John Newcombe Arthur Ashe John McEnroe  SIDELINES: BASELINE BASHERS"
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+Look-Alike Tuna and Shark
+In consumer electronics, the buzzword of the moment is convergence. It used to be, for instance, that you had your cellphone and you had your organizer, and never the twain did meet. Now both gadgets have evolved to be pretty much the same; your cellphone contains your datebook, and you can make calls from your organizer.
+Convergence can happen in nature, too. Consider the case of lamnid sharks, like the mako and the great white, and tuna. They have evolved separately for about 400 million years, and in some ways are about as different as fish can be. The tuna has bones, the other has only cartilage. But they have the same streamlined body shape, and both have a tall tail fin that is attached to the body at a narrow point .
+Now Jeanine M. Donley of the Scripps Institution of Oceanography and other researchers have shown that this convergence is, as they put it in a paper in the journal Nature, more than skin deep. They studied how mako sharks swim, down to the particular muscle movements, and found that there are remarkable similarities to tuna.
+The researchers placed newly caught shortfin makos in a swim tunnel, a kind of endless pool for fish. They embedded piezoelectric sensors deep within the flesh to detect muscle movements.
+While most fish swim by wriggling the whole body, tuna, which have been extensively studied, get their propulsive power by sweeping the tail back and forth. The researchers showed that makos do this too, and in a similar way; specialized muscles near the backbone transmit their power to the tail through long tendons.
+As for why these two types of fish converged, the answer is clear. Both are open-sea hunters and have a need for speed, which their specialized shape and muscle dynamics give them.
+Mineral From the Moon
+There may be nothing new under the sun, but there is something new from the moon. Scientists from the University of Tennessee at Knoxville and other institutions have found a new mineral in a lunar meteorite that was collected in Oman four years ago.
+The mineral, named hapkeite, consists of iron and silicon and was produced by space weathering; the elements were vaporized by micrometeorites on the moon and then redeposited as a film on rock.
+The finding was reported in The Proceedings of the National Academy of Sciences.
+Parasitic Interaction
+The common view of parasite species in animals is that they are like loners at a party: one drinking alone at the bar, another hovering around the cheese dip, a third mumbling to itself in the corner. In other words, they have no interaction at all.
+But a study of wild rabbits in Scotland has shown that parasites are not always such social misfits.
+Researchers from Australia, Britain and the United States analyzed data from a rabbit population that was sampled monthly for 23 years. These rabbits have five species of parasitic worms in their intestinal tract -- one in the stomach, three in the small intestine and one in the large intestine. The researchers looked for evidence that the parasites had an effect on one another.
+The study, published in Nature, found a network of interactions. Increasing numbers of one parasite resulted in a decrease in one or more of the others, often depending on where in the tract (upstream or downstream, in the researchers' terms) the particular worms were. The effects were either direct -- byproducts of one worm, for example, could harm another downstream -- or indirect, through the rabbit's immune system.
+Many important farm animals have similar parasite communities, the researchers say, so similar research should be undertaken on them, with any interactions taken into account when trying to control infections. A drug against one worm, for example, may allow others to become more of a problem. On the other hand, introducing a relatively benign parasite may be an alternate way to control those already there.
+They Hummed in Europe, Too
+Hummingbirds just got a lot older and wider. Two 30-million-year-old German fossils have been identified as hummingbirds, pushing their fossil record back about 29 million years and providing proof they once inhabited the Old World.
+The discovery was made by Dr. Gerald Mayr of the natural history museum Forschungsinstitut Senkenberg in Frankfurt and reported in the journal Science. He named the extinct species Eurotrochilus inexpectatus.
+Dr. Mayr found the fossils in storage in a Stuttgart museum. They had been donated by a private collector who uncovered them in a clay pit near Frauenweiler in southern Germany. Dr. Mayr said that he recognized particular features of the birds' anatomy in the fossils, which are less than two inches long.
+'I'm convinced they're hummingbirds,' he said. 'They're very, very distinctive in the wing bone, which is adapted to hovering and nectar feeding.' The bone and shoulder joint allow the wings to beat in a figure-eight pattern.
+One of the fossils also has a long beak, like modern hummingbirds. Several older hummingbird-like fossils have been found in Germany and the Caucasus, but they are generally considered more primitive birds, in part because there is no clear evidence they had long beaks.
+The only other fossils of modern hummingbirds are about one million years old. Like their living descendants, they have been found only in the New World.
+Dr. Mayr said the big leap backward in the fossil record did not surprise him. Genetic analysis had estimated that modern hummingbirds diverged from other birds 30 to 40 million years ago. The problem was to find evidence.
+There won't be any more found at Frauenweiler. 'The site does not exist anymore,' Dr. Mayr said. 'It's going to become a landfill.'"
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+The countdown to perfection began after Jose Offerman struck out yesterday, Yankee Stadium buzzing with anticipation. Mike Mussina could sense it.
+He could hear it. He felt the distinctive energy of the crowd in his first start since he fell a strike short of a perfect game last Sunday night in Boston.
+Offerman whiffed and the crowd roared. Only 26 outs to go. It was the first inning.
+Mussina walked Troy O'Leary in the second inning. Manager Joe Torre turned to his pitching coach, Mel Stottlemyre, and told him it was the best thing that could have happened.
+Trot Nixon doubled in the fourth inning, Boston's first hit of the game, and Torre was glad Mussina could forget about perfect games and no-hitters and get back to pitching, something he does very well.
+Mussina allowed one unearned run over six innings and Tino Martinez slammed a couple of homers and drove in five runs against his former teammate David Cone as the Yankees crushed Boston, 9-2.
+The Red Sox are ready for an autopsy. They have lost 12 of their last 13 games. The Yankees went into Fenway Park on Aug. 31 leading the American League East by six games. They have doubled that lead over Boston in eight days, winning all five games with the Red Sox.
+The Yankees' number for clinching is 10. They will clinch the division title with any combination of Yankees victories and Boston losses equaling 10.
+'We went to Boston last week with a six-game lead and a three-game series and it could've gone to a three-game lead if we played terribly,' Mussina said. 'We really pitched tremendously and we found a way to come through with three very close games, and that has led us into believing we can go out there and put this thing away and play some good baseball and get it going again.'
+Roger Clemens is 19-1 and the front-runner for the American League Cy Young award, Orlando Hernández has made two strong starts in the last eight days, and Andy Pettitte is 14-9. Mussina is 15-11 over all. In his last six starts he is 4-1 with a 1.03 earned run average, allowing 21 hits and 10 walks in 44 innings, with 48 strikeouts. Mussina has not allowed an earned run in 25 consecutive innings.
+A couple of Mussina's former teammates from the Baltimore Orioles called him after his near-perfect game, Jesse Orosco phoning from California.
+'You blew it again,' Orosco joked, referring to the game in 1997 when Mussina retired the first 25 batters.
+Mussina did not talk much about the game last week.
+Reliving the disappointment in conversation served no practical purpose, he said.
+He saw no point in dwelling on what could have been, and he had no expectations of dominating Boston in a similar fashion yesterday. 'To realistically think the same thing could happen did not enter my mind,' he said.
+Mussina struck out the side in the top of the first, immediately grabbing the attention of the fans.
+But Cone, who held the Yankees scoreless into the ninth inning during Mussina's masterpiece last Sunday, allowed a walk and a two-run homer to Martinez in the bottom of the first. It was turning into a different kind of game.
+Mussina pitched out of trouble in the fourth inning, then the fifth, when Boston scored an unearned run to draw to 2-1.
+But in the sixth, Chuck Knoblauch singled and Bernie Williams walked before Martinez ripped his second home run of the game.
+It was his 31st home run of the season and his 100th, 101st and 102nd runs batted in.
+Cone was replaced with two out in the sixth, and fans stood and clapped for their vanquished old friend.
+Cone said, 'Emotionally, it's been very draining to have this down streak when we were so close to being in this race, so close to making a run at the Yankees.'
+The Yankees added four runs after Cone departed, taking a 9-1 lead. Torre relieved Mussina, who pitched extraordinarily over two decisive weekends in September and through the frustration of having Carl Everett end his bid for a perfect game by dumping a single into left-center field with two strikes and two out in the ninth inning last Sunday night.
+'A lot of that game was a blur,' Mussina said.
+'You get upset, you get disappointed and you let it go.
+'I will, sometime.'
+INSIDE PITCH
+PAUL O'NEILL has been hampered by late-season injuries in each of the last two years, and he has another problem this year. O'Neill hurt the outside part of his left foot while running the bases Friday, was scratched from yesterday's starting lineup and might miss the next few games. O'Neill said after yesterday's game that he should be ready by tomorrow, but Manager JOE TORRE seemed intent on resting him for a couple of days.
+DEREK JETER could come back next week, but Torre wants to be cautious and the Yankees will play on Tampa Bay's artificial surface next weekend. Jeter may be used as a designated hitter against the Devil Rays. . . . SCOTT BROSIUS will take batting practice against some of the pitchers called up from Class AAA last week, and he could return to the everyday lineup Wednesday or Thursday.
+JORGE POSADA, who is appealing the six-game suspension he received Friday for a confrontation with an umpire, has not heard when his hearing will be held. The Yankees will begin a 10-game road trip Friday, and unless Posada's appeal is heard in the next few days, the process will have to be continued in another city.
+BASEBALL"
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+LEAD: Wilt Chamberlain, the second-leading career scorer in National Basketball Association history with 31,419 points over 14 seasons, has seen his jersey number, 13, retired by the Los Angeles Lakers, for whom he played his six final seasons, ending in 1973. Now the Philadelphia 76ers, with whom he played three and a half seasons in the mid-1960's, would like to honor their home-grown 7-foot-1-inch hero, too.
+Wilt Chamberlain, the second-leading career scorer in National Basketball Association history with 31,419 points over 14 seasons, has seen his jersey number, 13, retired by the Los Angeles Lakers, for whom he played his six final seasons, ending in 1973. Now the Philadelphia 76ers, with whom he played three and a half seasons in the mid-1960's, would like to honor their home-grown 7-foot-1-inch hero, too.
+John Nash, the 76ers' general manager, announced Thursday that a ceremony to honor Chamberlain and retire his number would take place at the Spectrum early next season.
+Chamberlain long held a grudge against the 76ers. Philadelphia acquired him from San Francisco on Jan. 15, 1965, with an understanding that he would gain part ownership of the 76ers. But Ike Richman, the owner, died before the agreement could be made formal, and attempts by the 76ers over the years to retire the number 13 met with a cool reception from Chamberlain. But times and attitudes changed.
+'He's thrilled, he's looking forward to it,' said Michael Richman (no relation to Ike Richman), a Philadelphia lawyer who has been Chamberlain's contact with the team.(AP)  SPORTS PEOPLE: PRO BASKETBALL"
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+LEAD: A sensor that clips onto an earlobe, fingertip or your chest can provide a digital readout of your heart rate while you exercise, and a new version can talk.
+A sensor that clips onto an earlobe, fingertip or your chest can provide a digital readout of your heart rate while you exercise, and a new version can talk.
+It tells when you're overexercising, and warns you if you're slowing down. It will also tell you your heart rate. The HeartWatch, marketed by Computer Instruments Corporation of Hempstead, L.I., is a wireless audiovisual unit. It works in combination with a listening device, such as a personal stereo, to transmit the voice.
+The object of monitoring your heart rate is to stay within a target zone, which varies among individuals depending on age and health. The HeartWatch lets you know whether you are within the safe zone that you have programmed. The voice on the meter interrupts the music only when you are above or below your target zone.
+The HeartWatch comes with a chest band that picks up heart rate through electrode sensors. A separate pocket-sized receiver comes with a display screen that shows heart rate and exercise time. The HeartWatch costs about $300. Call (800) 227-1314; in New York State, (516) 483-8200."
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+The Rangers have a hot man in goal. And they will need him as they battle the Devils for the most points over all and the best record in the National Hockey League.
+Mike Richter recorded his fifth shutout and his 38th victory of the season -- breaking a 25-year-old club record held by Ed Giacomin -- as the Rangers defeated the Dallas Stars, 3-0, last night at Madison Square Garden.
+The victory gave the Rangers a 2-point lead over the Devils heading into tonight's showdown at Byrne Meadowlands Arena. The Devils lost, 2-1, to the Capitals last night at USAir Arena in Landover, Md.
+""We've worked very hard to put ourselves in this position and we want to finish first,"" Rangers Coach Mike Keenan said about tonight's clash with the Devils.
+""They made up some ground,"" Mark Messier, the Rangers' captain, said about the Devils. ""We haven't been thinking about them. The last two days we concentrated on this game.""
+Brian Leetch, Glenn Anderson and Aleksei Kovalev scored the goals for the Rangers against Andy Moog, who faced 29 shots.
+Richter faced 28 shots and had some trouble handling the puck cleanly, especially in the opening period, but his teammates were there to recover each time and keep Richter's bid for a shutout intact.
+""The guys played very well in front of me and they deserve a lot of the credit,"" said Richter, who improved his record to 38-12-5.
+Richter's first mishap came four minutes into the game when the puck fell behind him after a shot by Russ Courtnall. But defenseman Kevin Lowe was there to clear it from the crease.
+Richter was fortunate again about two minutes later when Brent Gilchrist stepped into the low slot to collect a rebound, but his shot hit Richter's stick on the way up and then bounced off the crossbar.
+At the end of the ice, Moog was steady for the most part. His glove saves on Adam Graves and Leetch were his highlights in the first 40 minutes.
+Moog can't be held responsible for Leetch's goal because he was screened by Graves and one of his defensemen.
+Sergei Zubov started the play that led to Leetch's 22d of the season, 2 minutes 47 seconds into the second period, with a pass to Messier in the right circle.
+The captain of the Rangers spotted Leetch alone at the left point as the Stars were killing a penalty to Gord Donnell and found him with a pass.
+Leetch took a stride and let go a blistering shot from the top of the left circle that ended up in the goal over Moog's left shoulder, bringing the sellout crowd to life.
+The goal was Leetch's fourth in the past three games. It was also the 50th game in the last 67 that the Rangers scored the first goal in the game.
+Leetch's goal stood as the only one in the game until Anderson pounced on a rebound off a shot by Graves for his 20th of the season with 8:55 left.
+Kovalev iced the triumph for the Rangers on an empty-net goal in the waning moments, his third goal in the past two games and 20th of the season. SLAP SHOTS
+ADAM GRAVES was honored in a ceremony before the game for breaking VIC HADFIELD's record for goals in a season. Hadfield had 50 goals in the 1971-72 season and it lasted until March 23, when Graves scored his 51st. Graves's parents and his fiancee attended the ceremony at center ice. . . . The Rangers evened the season series with the Stars, who beat the Rangers in Dallas, 3-1, on Feb. 26. . . . SERGEI NEMCHINOV will return from his eight-game suspension against the Devils tonight and MIKE HUDSON will return from his 10-game suspension against Florida Monday night."
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+RAIDERS 27, PACKERS 21
+It didn't take the Heisman Trophy winner Charles Woodson long to make his mark in the National Football League.
+Woodson's ferocious first-quarter hit on Antonio Freeman forced a turnover that put the Oakland Raiders on their way to a 27-21 victory over the Packers at Green Bay yesterday.
+It was the Packers' first loss at Lambeau Field since Sept. 17, 1995, a span of 33 games, including five exhibitions.
+The Raiders' coach, Jon Gruden, gave Woodson the start at left cornerback so that he could be tested by quarterback Brett Favre and receivers Freeman and Derrick Mayes.
+On Favre's first pass in his direction, Woodson hammered Freeman just as the ball arrived. Free safety Eric Turner grabbed the ricochet and returned it 35 yards for a touchdown.
+It was one of three turnovers the Raiders (2-0) turned into 17 first-half points on their way to a 24-7 halftime lead.
+Favre threw Woodson's way only once more, and the ball bounced off Freeman's chest. Favre finished 3 of 8 for 53 yards, but things quickly deteriorated for Green Bay (2-1) when the three-time most valuable player finished his work.
+The backup Doug Pederson promptly fumbled two of center Frank Winters's first three snaps, and Oakland turned those gifts into 10 more points and a 17-0 lead.
+SAN DIEGO  Leaf Is Unhappy With His Play
+While Ryan Leaf looked great again on the statistics sheet, he did not give himself a passing grade for his play in the San Diego Chargers' second exhibition game on Saturday night.
+The rookie completed 13 of 22 passes for 200 yards and a touchdown, and also made a twisting leap over two St. Louis linebackers for his first rushing touchdown in the Chargers' 41-27 victory in San Diego.
+Leaf also threw his first interception, which bounced off Webster Slaughter's hands to cornerback Todd Lyght, who raced 73 yards for a touchdown to cut San Diego's lead to 17-7 late in the second quarter.
+I made a lot of mistakes, Leaf said. It's probably the worst half of football I've played in a long time. I missed wide-open receivers.
+SEATTLE  Moon Makes Return to Canada
+The dramatic finish of Saturday night's American Bowl in Vancouver, British Columbia, wasn't enough for the more than 45,000 fans, many of whom came to see the former Canadian Football League star Warren Moon.
+While John Becksvoort clinched San Francisco's 24-21 exhibition victory over Seattle with a 31-yard field goal with two seconds left, the chants of We want Moon! and Mo-o-o-o-o-n! echoed through B.C. Place Stadium.
+Moon, however, was left to patrol the sideline in his uniform, not ready to play after having joined the team three days earlier following a contract holdout. Moon played six seasons in the C.F.L. and won five Grey Cup championships with Edmonton.
+N.F.L.: ROUNDUP"
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+The international swimming federation yesterday welcomed the two-year suspension of JESSICA FOSCHI for steroid use.
+The director of FINA, swimming's international governing body, said world-class athletes, including Foschi, must accept responsibility for any positive drug test -- whether or not they took the banned substance intentionally.
+You are responsible as an athlete of high level to see that you don't take  any kind of medicine or food except from those people entitled to give it to you,"" the director, CORNEL MARCULESCU, said. ""It is the same responsibility you  have to take with your luggage at customs.""
+The United States Swimming Federation, following FINA regulations, on Tuesday banned Foschi, a 15-year-old from Old Brookville, L.I., from national and international competition for two years. A urine test last August turned up positive.
+(AP)
+SPORTS PEOPLE: SWIMMING"
+False,False,True,False,False,True,False,False,False,False,True,False,False,True,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,True,True,False,False,True,False,False,True,False,False,False,False,True,True,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"All but Salmon at Salmon Stream Lake, a Sportsman's Unspoiled Paradise
+As we paddled our canoe down the slow-moving outlet stream at the southern end of Salmon Stream Lake, we were both startled by an otter that slid off the top of a huge boulder into the dark water when we were only a few feet away.
+It had obviously been dozing on its six-foot-high perch that sultry August morning, and I remarked to my companion, Ruth Kirchmeier, that only once before in my life had I gotten that close to a sleeping otter. More than 60 years ago, I was tending to my trap line in a salt marsh during a January thaw when I had come upon the animal soaking up the sun on top of a muskrat house.
+Being prone to look for favorable portents no matter how bizarre, I immediately began to speculate that the otter was a sign that our morning's quest for smallmouth bass would be successful.
+Three years ago, I purchased a partially completed lodge and a 220-acre peninsula that juts out into the lake in an unincorporated township in Penobscot County, about 60 miles north of Bangor. My two sons, grandsons and I got the place, the only dwelling on the lake and accessible only by water, functioning with propane gas appliances by last fall.
+One won't find Salmon Stream Lake in literature dealing with Maine's prime fishing waters, and its name is misleading, for it holds no salmon. It's a shallow, body of water about a mile long and a half-mile wide. Part of the Penobscot River watershed, it contains white suckers, sunfish, pickerel, yellow perch, white perch and smallmouth bass -- and an occasional brook trout. There is no formal public access to the lake and the fishing pressure is minimal. On our recent four-day visit, Ruth and I never saw another angler.
+Until this year, I had not done any serious fishing on the lake -- being too busy working on the lodge -- although I had taken yellow perch and pickerel and a few small bass from Salmon Stream which flows into the lake along the east side of the peninsula. Boulder-strewn with several spots more than 16 feet deep, the outlet stream winds through a lovely marsh for half a mile, making it a superb smallmouth bass habitat.
+It was over 90 degrees in the shade in late afternoon the day we arrived and the next day was even hotter. The surface water temperature of the lake was 82 degrees in early morning and 14 feet down in the two holes I tested, it was 68 degrees. The hard-fighting and acrobatic smallmouths, in which I was most interested, wouldn't be inclined to take anything offered under such conditions.
+This spring, Jason McLaughlin of Medway, Me., who watches the place for us, built a portable lightweight dock that is anchored off the rocky point in front of the camp. I devoted the first day to putting together a 10-foot wooden walkway to it. The dock had been moored in place by my youngest son, Jeff, and Rob Oslyn. They also dug a new hole for the outhouse and moved the structure to its new location.
+As I fashioned the dock walkway, Ruth worked on her latest woodcut at the eight-foot-long cherry wood trestle table I built for the place. When the walkway was completed, we pulled it into place and added concrete building blocks to the dock's offshore anchors.
+We get the camp's washing and cooking water from the lake -- which is about 100 feet away -- via an overland black plastic pipe and a pitcher pump. When I quit work at 5 o'clock and went inside to wash my hands I discovered that the water -- sun-warmed in the black pipe -- was so hot that it was painful.
+At dusk, I went to fish the inlet stream and soon caught two good-sized pickerel on a sub-surface swimming plug and then, after dark, hooked up with what I thought was a smallmouth, although it didn't jump. Later, when cleaning those fish for supper by flashlight, I realized that my last catch was a white perch of over two pounds. It was much darker than the salt-pond white perch with which I am familiar.
+Seeking cooling breezes at bedtime, Ruth and I spread mattresses on the floor in front of the screened-in glass doors that face the lake and went to sleep listening to the occasional wailing of loons from the far shore. We also listened to the distant roar of big trucks on Interstate 95, which parallels the lake's east shore.
+Directly opposite the camp the highway is more than a half-mile away and dense forest intervenes, but the sound of heavy vehicles is clearly audible on quiet days. I have become accustomed to this intrusion in what appears to be a wilderness, much, I surmise, as have the loons, ospreys, eagles, moose, deer, beaver, mink otter, varying hares, ruffed grouse and waterfowl.
+On the morning that we surprised the otter, I began fishing the area around the boulder on which it had been resting with a deep-diving plug. The first fish I caught was a foot-long sucker and as I was bringing it to the canoe to release it, I saw a fish about twice its length. On my next cast I was fast to something substantial, a smallmouth bass of more than four pounds that hurtled three feet into the air. I kept that fish -- smallmouths are good eating -- and a few minutes later caught and released another equally athletic smallmouth of the same size.
+The sleeping otter had been a portent of success. My two bass weren't record-breakers, but they were the largest of their species that I had ever caught. I quit fishing before the day got any hotter. At sundown we had a swim and lolled on our new dock, drinks in hand, watching the last light fade over Mount Katahdin.
+OUTDOORS"
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+The Nets spoke about fourth-quarter execution, and about how a veteran team like the Bulls was able to perform so cohesively while the Nets faltered. On and on they droned. They sounded like a losing team, and they were. Again.
+But Coach Chuck Daly and the Nets were simply being honest about what had happened at Chicago Stadium Wednesday night in a 94-86 Bulls victory. Whenever the three-time defending champions needed a crucial basket in the final 12 minutes, there was Scottie Pippen or Toni Kukoc or even, believe it, the resurrected Bill Wennington to provide it. Even without Michael Jordan, the Bulls adeptly orchestrate their offense.
+Not the Nets. In a seven-minute span when the Bulls uncorked the only extended run with an 18-9 surge, the Nets were vainly trying to create decent shots. They were also trying to accumulate more field goals than turnovers, and they barely achieved it by a 5-3 margin. The disintegration helped saddle the Nets with their 18th straight loss at Chicago Stadium, a drought that stretches back to 1986. 'Too Many Breakdowns'
+""You're looking at a team that has been playing together for how many years?"" wondered Derrick Coleman, forgetting that Kukoc and Wennington are in their first seasons with the Bulls. ""We couldn't really run our offense down the stretch. We had too many breakdowns.""
+Aptly said. While Kukoc, Wennington, Steve Kerr and Corie Blount have seamlessly meshed into the Chicago system and helped the Bulls to 10 straight victories, their longest winning streak in two years, the Nets still sometimes look like a team that is trying to become acquainted. Six of the 10 Nets who played against Chicago are in their first seasons with New Jersey, and it has been a problem at times.
+Kenny Anderson, who played splendidly with 27 points, is still learning to direct the offense in tight spots. He nicked the Knicks for 8 points in the final 93 seconds of an 85-81 victory on Dec. 21, but he had one turnover and another shot blocked by Wennington when the Bulls took control of the game Wednesday night. Anderson also missed a 3-point field goal with 1 minute 52 seconds left that would have sliced the deficit to 1. Few Options for Coleman
+Coleman is still adapting to the double- and triple-teams on defense that he might see for the rest of his career. He misfired on 12 of 19 shots and tossed up one weak attempt with three Bulls draped around him. But maybe Coleman cannot be blamed for chucking up a prayer because he has few options to pass to. Kevin Edwards, signed as a free-agent shooting guard, did a lot of shooting and a lot of missing Wednesday as he clanged 13 of 15, including his first 11 shots from the field.
+Still, the Nets viewed the loss as a potential springboard. In the past 11 days, the once-moribund Nets have defeated the Atlantic Division leading-Knicks twice, the Central Division leading-Hawks once and played evenly with the Bulls for 37 minutes. But then they fumbled, the Bulls raced to the victory and the Nets uttered those three simple words: fourth quarter execution.
+""You can build on something like this,"" Coleman said. ""We're getting there. It comes down to fourth-quarter execution.""  PRO BASKETBALL"
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+LEAD: Ben Hinson, a high-scoring forward for the basketball team at Baptist College in Charleston, S.C., is considered the best player in the Division I Big South Conference. It wasn't until he was a teen-ager, though, that he could beat his sister in a game of one-on-one.
+Ben Hinson, a high-scoring forward for the basketball team at Baptist College in Charleston, S.C., is considered the best player in the Division I Big South Conference. It wasn't until he was a teen-ager, though, that he could beat his sister in a game of one-on-one.
+Priscilla Hinson, a year older than Ben, was taller than her brother when they were growing up. Now he's 6-4, she's 6-2, both are seniors at Baptist, and both lead their teams in scoring. 'She played with her back to the basket, and I didn't like to foul her too much,' Ben recalls of the sibling games back in Hamlet, N.C. 'But when I got tired of her beating me, I started getting rough.'
+The competition in general was rough back in Hamlet, where other players at the local park included Mike Quick (now of the Philadelphia Eagles), Franklin Stubbs (Los Angeles Dodgers) and Cozell McQueen, who went on to star at North Carolina State. Hinson, a cousin of the Philadelphia 76ers' Roy Hinson, maintains that eventually he was better at basketball than all of them, a claim that nobody in the Big South would dispute. Priscilla Hinson, however, has stiff opposition for stature as best female player in the league. It comes from Radford University's 6-2 senior, Joyce Sampson, sister of Ralph.
+SCOUTING"
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+JOHN DALY was a big winner even before teeing off today in the first round of the United States Open in Oakmont, Pa. Wilson Sporting Goods announced a contract yesterday that will keep Daly in the money for the next decade. Though specific terms of the contract were not released, one report, in Golfweek magazine, said it is a $30 million deal over 10 years.
+""I don't know what the numbers are myself,"" said Daly, who is known as one of the PGA Tour's longest hitters. ""I didn't read it. I just signed it."" (AP)  SPORTS PEOPLE: GOLF"
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+On Aug. 11, 1819, the paddle-wheeler Bellona, under the command of the youthful and not-yet-famous Cornelius Vanderbilt, advertised a trip that would leave from the Whitehall dock in Lower Manhattan at 10 A.M. the following Sunday. It promised ""a few hours of healthful pleasure"" at a spot, about 10 miles east of Sandy Hook, known as the Fishing Banks.
+With this announcement, according to William Zeisel, a New York angling historian, the first party boat in New York waters inaugurated a low-cost and bountiful fishery that has offered sport to generations of local anglers. The party boats are still around today, most notably in the shrinking but still active fleet of day boats that moor along the quay fronting on Emmons Avenue in Sheepshead Bay.
+The ships no longer offer live polka bands, as they did in those early days. But the waters off Sandy Hook -- the southernmost boundary of New York Harbor -- are still the seasonal home for striped bass, cod, ling, whiting, sharks, bluefish, and the homely but toothsome blackfish.
+It was with blackfish in mind that I boarded the fishing boat Ranger on a blustery but sun-washed Saturday.
+At the stern, members of a loquacious Greek family guarded their spots. Within the cabin, two Japanese men gulped down sushi rolls. Two Central American women dozed as they sank deep into their many layers of clothing, their faces enshrouded in kerchiefs to ward off the cold.
+We anchored above a wreck in Ambrose Channel, the main sea lane into the harbor. The wind was up, as were the swells that rocked us vigorously. My daughter, Lucy, and I did not do too well, although she was delighted to pull up two of the small sharks known as dogfish. They were sharks, after all, and how any times does a 9-year-old get the chance to tell her schoolmates that she had caught two of them?
+We had not perfected the touch required for blackfish success. One does not strike at the first tap on the line; wait for that second or third tap, when the rod bends, before striking. This last piece of lore was imparted to us by Ed Dols, a Sheepshead Bay regular. He fished, as many of the better blackfish anglers do, with a soft sensitive rod and an antique sidewinder reel. Eddie's was a 40-year-old ""U-Needa,"" a bakelite version of the very earliest English reels used by Izaak Walton.
+Eddie took seven nice fish, but the wind, waves and racing tide vanquished Lucy and me.
+I resolved to come back.
+The wind howled for two days. Finally on Wednesday, Eddie called and told me to meet him at 6:45 on the 65-foot Ocean Eagle. While the Ranger was a large (110 feet), well-appointed, metal-hulled craft, the Ocean Eagle was smaller and funkier, with wooden decks and a smallish cabin where 10 serious anglers sat, drank coffee, played penny-a-point gin rummy, smoked Pall-Malls, sipped hot turkey soup and fought off the weather with an occasional tot of homemade corn liquor.
+It was very much the scene that, when I was a boy, I had imagined taking place in a railroad caboose.
+Eddie is known around Sheepshead as Aquarium Eddie. He explained he earned his nickname during 37 years spent as an aquarist at the New York Aquarium in Coney Island. In addition to his fish and animal duties, he accompanied the naturalist Nixon Griffis on collecting expeditions around the world. Eddie dived into Lake Titicaca for giant frogs, which he caught by hand, and he netted one of the world's rarest fish, the poison-spined Green Laced Lion fish, on the Great Barrier Reef of Australia.
+Did he have a favorite animal? He answered that a few years back, he had developed a strong friendship with a walrus named Olaf, who died, as do many walruses in captivity, of complications brought on by obesity.
+We anchored in Sandy Hook Channel near the Fisherman Buoy. Artie Leang and Charlie Fitzpatrick (crewman on the Staten Island Ferry) were particularly successful there. Leang told me not to bounce my sinker off the bottom. It was the easiest way to hang up on undersea rubble. I thanked him and proceeded to catch fish.
+We moved farther southeast to a part of the Seventeen Fathoms area known as the Mud Buoy because it marks a huge underwater mound where the dredgers of New York Harbor dump their spoils. Captain Greg Nardiello set his two anchors meticulously, 30 compass points off the wind direction and slightly uptide of the undersea target.
+We fished facing the warming sun for two hours, not talking much, looking at, almost listening to our rod tips. When the blackfish started to bite, we all ""roller-skated"" -- the term for the way blackfisherman scoot around the decks -- over to the hot spot. By the time we returned to port at 3 P.M., I had 12 fillets.
+I now had a chance to indulge a long-standing wish that was born when I researched a 19th century account of a world-record brook trout said to have been caught on the Connetquot River in Long Island.
+As the story goes, Daniel Webster and his fishing pal, Martin Van Buren, were in church, heavily hung over from dipping into a hogshead of rum at Sam Carman's tavern. The sermon was interrupted by Carman's slave, Apaius Enos, who reported that an enormous trout was feeding in the mill pond. Webster got his rod and proceeded to land a 14-pound, 10-ounce brookie. He iced it and took the stage coach back to Delmonico's Restaurant, where New York's (and America's) first great chef, Charles Ranhofer, prepared it with an almondine sauce.
+Although my fish was no world record, it still merited a call to Michael Lomonaco, a friend and fellow angler who is the chef at the ""21"" Club, founded by another New York fisherman, Peter Kriendler.
+""I'll bring the fish if you're up to cooking it,"" I offered. He accepted.
+The next afternoon I sat down to my semiannual lunch date with my college roommate, Vinnie Farrell. Lomonaco started with bay scallops and hazelnuts washed down with Chardonnay. We moved on to our blackfish, which was pan-fried in a coating of cornmeal and served atop a bed of black olives, sun-dried tomatoes, sauteed fennel, and a sprig of fresh dill. The sauce was bright and powerful. The blackfish released a pleasant steam as it flaked. Vinnie and I gave our conversation a rest, and surrendered ourselves to the food.  OUTDOORS"
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+Moments after filling Madison Square Garden with two hours of terrific basketball and nearly as much obscenity on Tuesday night, Latrell Sprewell implied that he had had a storybook return, even if it might have required a parental advisory label.
+'You always hope it's going to be a night like this,' he said after scoring 31 points in Minnesota's 98-92 victory over the Knicks. 'You just never know.'
+But yesterday the National Basketball Association fined Sprewell $25,000 for shouting obscenities at James L. Dolan, the Garden chairman, and Lon Kruger, a Knicks assistant coach.
+The amount is more than twice the $10,000 that the 76ers' Allen Iverson was fined for making an obscene gesture toward fans in November and that Sprewell was fined for his behavior in his first trip back to play at Golden State in 1999.
+Stu Jackson, the league's senior vice president for basketball operations, made the decision after viewing a tape of the game yesterday afternoon. Jackson, who watched from the stands Tuesday, was not available for comment. The fact that Sprewell behaved similarly at Golden State may have influenced his decision on the amount of the fine.
+Sprewell could not be reached for comment, but his custom during his five seasons with the Knicks -- when he was fined more than $600,000 -- was to appeal fines through the players association.
+Sprewell, who clearly relished his behavior on Tuesday, said he enjoyed this experience more than his return to Golden State, where he was ostracized after choking Coach P. J. Carlesimo in 1997.
+'This was definitely sweeter because we won and I was able to play well and I was really emotional,' he said. 'Back when I went back there, the fans weren't really cheering for me; they were booing. So to be able to play in front of my fans here that love me so much and perform like that was definitely sweeter.'
+Knicks fans embraced Sprewell when he was signed in 1999, but he might not have been such a crowd favorite if the Garden had seen more nights like Tuesday. While the majority of fans cheered him lustily, a smattering of boos was heard in the game's final minutes when Sprewell was his crudest, cursing Dolan and Kruger at the top of his voice.
+Dolan said afterward that Sprewell's actions justified his decision to trade him in July.
+Dolan then spoke briefly with other Knicks officials, including the new president, Isiah Thomas, and Steve Mills, the Garden president for sports team operations, and they agreed not to comment about Sprewell, saying his actions spoke for themselves.
+Sprewell played with great passion with the Knicks. He got into a few shouting matches with fans on the road, but for the most part the anger he displayed Tuesday was absent, leaving most Knicks followers with the impression that he had changed drastically.
+There was no greater example than Dec. 25, 2001, when Sprewell approached Carlesimo after the Knicks defeated Toronto in a nationally televised game. Carlesimo had broadcast the game for NBC, and before going into the locker room, Sprewell walked toward him unsolicited, extended his hand and wished him Merry Christmas.
+It was their first interaction in four years.
+'It's Christmastime, it's a special time of the year and we really should be thankful for a lot of things,' Sprewell said at the time. 'I'm not such a person where I just can't let bygones be bygones. I think I've reached that point where I've really put it behind me and it's over with. It's been a long time. I really don't care about that whole situation anymore. It's really in the past.'
+Sprewell's history with Dolan began amicably enough. Dolan seemingly overrode the edicts of his general manager at the time, Scott Layden, and Coach Don Chaney by reducing Sprewell's fine for missing a shoot-around to $2,500 from $125,000 in April 2002.
+Sprewell, citing the collective bargaining agreement, has contended that Dolan had no choice but to reduce the figure. Dolan said he did Sprewell a favor, so he was offended when Sprewell arrived for training camp the next September with a mysteriously broken hand.
+The fact that the articulate and engaging Sprewell won the public debate over Layden, even becoming a sympathetic figure, incensed Dolan even more.
+From that point, Sprewell's days in New York were numbered. After trying to trade him for most of last season, Layden, under orders from Dolan, sent Sprewell to Minnesota in a four-team deal that brought Keith Van Horn to the Knicks.
+Before the trade deadline in February, Sprewell correctly predicted trouble for Van Horn if the long-rumored deal was made.
+'New York will go crazy if they trade me for Van Horn,' Sprewell told a confidant.
+Then in October, Dolan said that Sprewell was traded because he lacked character.
+While Sprewell was proud of the way he dressed down Dolan and Kruger, who became a target when he told Sprewell late in the game after another outburst at Dolan to 'just play,' many of the Knicks players said they thought Sprewell validated Dolan's claims about his character.
+'I do worry about our image,' Dikembe Mutombo said yesterday. 'There's a lot of us who are trying to do good out there and portray basketball players in a different way. At the same time, we still have bad apples out there that portray us in different ways.'
+Charlie Ward suggested that Sprewell had forgotten it was the Knicks organization that enabled him to resurrect his career after his run-in with Carlesimo had made him a pariah.
+'Basically, it showed a lack of gratitude,' Ward said. 'He was very ungrateful for what the Knicks organization did for him when he was going through a tough time. It's just embarrassing.'
+None of Sprewell's venom was aimed at his former teammates or the fans, and he said he would love to play for the Knicks again, though he knows that is an impossibility under the current ownership.
+'I don't think Dolan would have that,' Sprewell said.
+PRO BASKETBALL"
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+Israel's government on Wednesday approved construction of new barriers deep inside the West Bank to shield several large Jewish settlements. The move significantly expands the scope of the already contentious project to wall off much of the West Bank, and could draw penalties from the Bush administration.
+Palestinians angrily denounced the decision, saying it would cost them large tracts of land, turn many Palestinian communities into isolated enclaves and greatly complicate any future peace negotiations.
+'If President Bush allows this wall to be built it will be the biggest failure of the peace process,' said Saeb Erekat, a leading Palestinian politician. 'It is a land grab with one aim: to sabotage President Bush's vision of a two-state solution.'
+The Bush administration, which has urged Israel to leave the settlements outside the barrier, reacted cooly but refrained from outright criticism. 'Our views on the fence remain unchanged,' the State Department spokesman, Richard A. Boucher said. 'We will look carefully at this decision.'
+As punishment for continued settlement building -- which was supposed to halt under the current Middle East peace plan -- the United States has said it plans to reduce slightly the three-year, $9 billion loan guarantees it extended to Israel in March.
+Washington is considering additional reductions in the loan guarantees based on the route Israel takes with the barrier.
+The barrier consists of electronic fences, concrete walls, guard towers and trenches, and currently runs along the northern West Bank and around parts of Jerusalem. It is designed to prevent suicide bombers from reaching Israeli cities.
+The most strenuous objections are not about the barrier itself, but the route Israel has chosen. The Bush administration has asked Israel to adhere as closely as possible to the West Bank frontier that existed from 1949 to 1967. Already, though, it cuts several miles into Palestinian land in the West Bank in order to incorporate Jewish settlements.
+The new fences approved Wednesday would enclose three sides of Ariel, a settlement of 18,000, and three other Jewish settlements in the area, north of Jerusalem. The western side of the settlements would not be enclosed during the initial building, expected to take about six months.
+However, at that point, Israel plans to consult with the United States about extending the fences westward until they connect with the main barrier that runs near the West Bank boundary. The result would be unbroken barriers jutting into the West Bank for 10 miles or more.
+On Wednesday, Israeli troops came under fire during an arrest raid in the West Bank town of Tulkarm, and responded by killing two Palestinian men, the military and Palestinians said.
+In Jenin, also in the West Bank, Israel arrested a senior figure in Islamic Jihad, Bassam Saadi, the military said."
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+The European Union's highest court ruled Tuesday that the Union had overstepped its authority by agreeing to give the United States personal details about airline passengers on flights to America in an effort to fight terrorism.
+The decision will force the two sides to renegotiate the deal at a time of heightened concerns about possible infringements of civil liberties by the Bush administration in its campaign against terrorism, and the extent to which European governments have cooperated.
+The ruling gave both sides four months to approve a new agreement, and American officials expressed optimism that one could be reached. But without an agreement, the United States could take punitive action, in theory even denying landing rights to airlines that withhold the information.
+That could cause major disruptions in trans-Atlantic air travel, which accounts for nearly half of all foreign air travel to the United States.
+The European Court of Justice, based in Luxembourg, found that the European Commission and the European Council lacked the authority to make the deal, which was reached in May 2004.
+Specifically, the court said passenger records were collected by airlines for their own commercial use, so the European Union could not legally agree to provide them to the American authorities, even for the purposes of public security or law enforcement.
+The agreement, which took 18 months to negotiate and was to last through 2007, gave the American authorities access to 34 categories of information about passengers on all flights from the 25 nations in the union. The data is made available as passengers board in Europe.
+But the European Parliament challenged the agreement in court on two points: The parliament was not consulted when the accord was reached, under intense pressure from the Bush administration, and it objected to the extent of personal data to be turned over -- including names, addresses, phone numbers, itineraries and payment information, including credit card numbers.
+Privacy advocates said the agreement violated civil rights, but the United States said the information helped identify the patterns of suspicious travelers. The court did not rule on the privacy question, focusing instead on the scope of European Union's authority.
+'The European Court is saying, yes, the European Parliament was right, that the data transfer agreement is illegal,' said Graham Watson, a British member of the parliament and chairman of the Alliance of Liberals and Democrats for Europe. 'What will now be needed is some pretty tough talking to get a new agreement in which our concerns about privacy are properly addressed.'
+In Washington, Jarrod Agen, a spokesman for the Department of Homeland Security, said privacy was not really the issue, because his department could obtain the same information by questioning the passengers on arrival.
+But, he added, security would be strengthened by having the information provided in advance.
+For now, he said, 'the planes will continue to fly and the security data will continue to be exchanged.'
+'There won't be any lowering of the data protection standards, or effect on passengers, or disruption to air traffic in the near term,' he added.
+In the past, the United States has warned that European airlines could be fined or lose American landing rights if they failed to make the data available.
+But an American official in Brussels, who spoke only on condition of anonymity because he was not authorized to discuss the matter, said Washington would seek a diplomatic arrangement with the European Union that respected the ruling without disrupting air travel.
+A spokesman for the European Commission, Johannes Laitenberger, told reporters in Brussels that the European Union remained 'committed to the fight against terrorism, while respecting fundamental human rights such as the right to privacy.'
+Europeans are by far the largest single class of visitors to the United States. In 2004, the most recent data available, 9.6 million European Union citizens entered the United States, according to a Department of Commerce survey.
+In the nearly five years since terrorists hijacked American passenger planes and crashed them into the World Trade Center and the Pentagon, governments on both sides of the Atlantic have expanded their powers of surveillance, tipping the balance of civil liberties in favor of safeguarding against attacks, at the expense of protecting individual privacy rights.
+But critics of the deal to share passenger data said rights violations -- from Iraqi prisons and Guantánamo Bay, to secret C.I.A. flights of terrorism suspects over Europe -- have tainted other antiterrorism efforts.
+Last month, for instance, investigators for the European Parliament said several European countries had been aware of, perhaps even complicit in the practice known as rendition, in which the Central Intelligence Agency abducted terrorism suspects and took them to countries that use torture.
+'People are very much concerned about the direction that the Bush administration has been taking in these matters,' Mr. Watson said.
+European civil liberties groups were outraged when the European Union signed the accord two years ago, arguing that it did not ensure the privacy protection that exists under current laws in the Union.
+The United States did agree to restrict access to the data to certain American agencies, and limited the time such data could be stored to three and a half years. But European civil libertarians say Washington has failed to safeguard such information against misuse.
+Opponents cited Congressional testimony in February by the director of the United States Transportation Security Administration, Kip Hawley, who said his agency could not guarantee that the privacy of passengers' personal information was fully protected.
+A recent episode involving the theft of names and Social Security numbers of 26.5 million American veterans from the home of a Veterans Affairs employee has raised further doubts about the care with which the government treats personal data.
+Sophie in 't Veld, a Dutch member of the European Parliament and a vocal opponent of handing over the passenger data, said that the first evaluation of the agreement's effectiveness in fighting terrorism was completed in March but that the report had been kept confidential by the European Union and the United States government.
+'The one question that has never been answered is, does it actually work?' said Ms. in 't Veld. 'How many terrorists did they catch? How many international criminals? How many attacks did they prevent? And how many mistakes were made? We do not know because this information has never been made public. It is outrageous.'
+European legislators said they were disappointed that the European Court did not direct the Commission and the Council to give the parliament joint oversight in approving any new accord. But they hoped that their concerns would be brought out in the new negotiations.
+European airlines reacted with caution to the ruling. Though the accord officially remains in effect for the next four months, some said they were seeking advice from their governments on how to proceed.
+'This is an extraordinary situation to be in,' Paul Charles, a spokesman for Virgin Atlantic Airways, told Bloomberg News.
+Air France-KLM, Europe's largest airline, said it would continue to provide the American authorities with the passenger records. 'We will still operate under the current situation for now,' said a spokesman, Samuel Coulon.
+Peter Hustinx, who oversees privacy issues for the European Union, said that until a new agreement was reached, airlines were facing some legal uncertainty if they continued to send passenger data to the American authorities.
+'I expect the U.S. government will continue to want the data, and airlines will want to share,' Mr. Hustinx said. 'But they may face challenges by individual citizens or even from national data-protection authorities.'"
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+Football coaches are usually overoptimistic dreamers. Jim Fassel said his dreams for the Giants were not optimistic enough.
+Coaches rarely say publicly -- even after the fact -- which games they expect to win. Fassel disclosed today that he expected the Giants to win 11 of their 16 regular-season games. They won 12. He also dreamed they would win their conference championship and get to Super Bowl XXXV, something they can accomplish by beating the Minnesota Vikings here Sunday.
+'I have a card on my desk with the schedule,' he said. 'Before the season, I marked a W next to 11 games. Those were the targets. The other games I left blank because you never put down an L.'
+The Giants won all of the W games except against the Detroit Lions. They won two games not on the W list: against the Washington Redskins on the road and against the Jacksonville Jaguars at Giants Stadium.
+'I don't know how much money I would have put on it,' Fassel said of his prediction. 'We had our best team. If we didn't get out of whack and we stayed healthy, we could do it. I thought we could make a run if we had a few breaks.'
+Some Question About It
+Despite five players listed as questionable, which means they were given a 50-50 chance to play, the Giants will go into Sunday's game with everyone apparently ready.
+The latest injury report showed as questionable wide receiver Amani Toomer (sprained left ankle), guard Glenn Parker (ribs), wide receiver Joe Jurevicius (sprained left knee), cornerback Reggie Stephens (sprained ankle) and the special-teams player Jack Golden (hip).
+Work Before Play
+Workmen spent much of today getting the Giants Stadium grass field ready for Sunday's game.
+'The field is frozen,' said John Mara, the Giants' executive vice president. 'By game time, they think it will be a fine playing surface. It's level and flat. If you're playing on grass in this part of the country this time of year, that's the way it's going to be. It's a lot better than AstroTurf this time of year.'
+PRO FOOTBALL: NOTEBOOK"
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+LEAD: The Andrew Dice Clay T-shirt was gone today, but Jeff Lageman was still wearing the pony tail, the ripped blue jeans, riding his Harley Davidson and building his reputation as the unforgettable character of the Jets' camp.
+The Andrew Dice Clay T-shirt was gone today, but Jeff Lageman was still wearing the pony tail, the ripped blue jeans, riding his Harley Davidson and building his reputation as the unforgettable character of the Jets' camp.
+'I don't know what happened to the Andrew Dice Clay T-shirt,' said Lageman, who was wearing a black shirt with a Harley Davidson logo. 'I stood it up in the corner when I went to bed. I woke up this morning and it was gone. It must've gotten up and walked away in the middle of the night. I think it got kind of grossed out by my body odor.'
+Lageman, who was the Jets' No. 1 draft pick out of Virginia last year. started the final 15 games of the season at right outside linebacker after not reporting to training camp until Aug. 24. He was the team's fourth-leading tackler with 72, the second-leading sacker with four and a half behind Dennis Byrd, a lineman, and made the Pro Football Writers' all-rookie squad.
+When Bruce Coslet took over as coach, he switched from a 3-4 alignment to a more traditional 4-3 and asked Lageman to play right defensive end.
+Committed to New Role
+'He's doing well,' Coslet said. 'He's got quickness. He can close in on a quarterback; he can close in on a running back. It's good for him playing down. He's not going to grab and throw a 300-pounder, but he can run around that guy. He's got a whole training camp to learn his part of the defense and he's very intelligent.'
+Coslet is not concerned about Lageman's training camp attire.
+'It doesn't matter to me as long as he gets the sacks and tackles,' Coslet said. 'There's not much emphasis put on that type of thing here. It's how you block and tackle.'
+The 6-foot-5-inch, 255-pound Lageman said he was committed to his new position. 'People used to always tell me when I was in little league and in college that 'you're going to be a down lineman one of these days' and I would never believe them,' he said. 'I'm not totally alien to the position but I'm not comfortable yet. It takes awhile.
+'From college to last year I went from inside to outside but I was still a linebacker. It's just some of the angles are different but you're standing up and you can still see the whole scheme.
+'On the D-line now you've got to key on an individual lineman and you're down in a three-point stand and you don't get the benefit of standing up and reading the whole field. This is the biggest change I've ever had to make and it is tough.'
+Distinctive Style
+The last Jet anybody remembers coming to camp on a motorcycle was John Riggins, the running back, who also showed up with a Mohawk-style haircut in the 1970's. But Lageman insists he's not putting on a show.
+'I enjoy riding the motorcycle,' he said. 'Instead of driving a car and worrying about a parking spot, you just drive up and park anywhere you want to.'
+Lageman said there was a purpose to the rest of his look, including the rips in his cutoffs.
+'The bandana keeps the hair out of my eyes,' he said. 'The pony tail started originally because when you're riding a bike 60 or 70 miles an hour you're not able to brush your hair after. The rip is where I tried to sit down 10 pounds heavier. The slash on the side of my leg is my pen holder when I go to meetings.'
+As for the tallymarks on the thigh of his cutoffs. 'That tells me how many days I've been wearing them.'
+No Thomas
+The Jets spoke with Marvin Demoff, the agent for Blair Thomas, their unsigned No. 1 pick, over the weekend, but Dick Steinberg, the team's general manager, reported no progress. Meanwhile, the Jets' running back corps remained thin. Johnny Hector, who won the starting job from Freeman McNeil last season didn't work out again Sunday because of the sprained knee he suffered Friday and it was announced that Carl Byrum, a fourth-year fullback out of Mississippi Valley State, would be out four to six weeks weeks with a hamstring he pulled on Saturday. Dennis Byrd, the defensive end, who jammed his shoulder in a pileup on Saturday also sat out."
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+Imagine having always been told that your closest relative is a pig, then waking up one morning to find that no, your nearest cousin is a whale.
+This decisive change in social standing has recently befallen the hippopotamus, which will doubtless receive new respect everywhere with the possible exception of Kansas, where the Board of Education discourages any thought that different species might be related to one another through evolution.
+Outside of Kansas, the whale is obviously a mammal that returned to the sea, but determining its closest terrestrial relatives is hard because its form has been so extensively modified. It has lost its hind limbs altogether and its forelimbs have morphed into flippers.
+One might suppose that the easiest way for a land animal to become a whale would be to turn first into a hippopotamus. Hippos are almost halfway to whales, as they are hairless, nurse their infants underwater and communicate by underwater sound.
+But mammalogists long thought otherwise. The hippo's nearest relatives were the pig and the piglike peccary, they declared. Enormous controversy greeted the suggestion in 1985 by Vincent Sarich, a pioneer of molecular-based evolution, that the hippo's closest cousin was the whale.
+Now that DNA is so easy to sequence, molecular evolutionists have been refining the family trees drawn up the old-fashioned way, on the basis of an animal's outward appearance. Several recent DNA-based reconstructions of the even-toed ungulates, the order that includes camels, giraffes, pigs, hippos and whales, have confirmed Dr. Sarich's original suggestion.
+The latest of these studies, published in today's issue of Proceedings of the National Academy of Sciences, is based on the viruslike elements that have copied themselves throughout the genomes of many species. The DNA of these extinct viruses help mark forks on a family tree because they are either present or absent at a given position in a species' DNA.
+The authors, led by Dr. Norihiro Okada of the Tokyo Institute of Technology, believe the extinct virus method is less ambiguous than other DNA-based methods of reconstructing family trees. It is so good, Dr. Okada has written, that one can dispense with the usual statistical analysis.
+In a commentary, Dr. David M. Hillis, a molecular evolutionist at the University of Texas at Austin, said the extinct viruses, known to biologists as SINE and LINE insertions, were good but not perfect markers of evolution, and that dispensing with statistical analysis was 'highly inadvisable.'
+Despite disagreements over methods, molecular evolutionists are now at one on the whale's family tree. The story goes like this. First there was an ancestral even-toed ungulate. Then the family tree split between camels and all the rest. Next the pigs and peccaries split off, followed by giraffes and deer, leaving just the ancestor of all hippos. Romping in the water, some hippos ventured into the ocean. These seafaring hippos then branched into the two superfamilies of the baleen whales (finbacks, blue whales) and the toothed whales (dolphins, porpoises).
+But don't tell it in Topeka."
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+Dave Lewis knows that becoming the head coach of the Detroit Red Wings will be scrutinized because he succeeds Scotty Bowman, who has won more games than any other coach in N.H.L. history.
+But Lewis, who signed a two-year contract yesterday, is not worried even though it will be his first season as a head coach at any level. He was a Red Wings assistant coach for 14 years and an N.H.L. player for 15.
+'Beware of the wrath of a patient man,' Lewis said at a news conference announcing his hiring. 'I'm looking forward to that opportunity and challenge. Sooner or later, Scotty was going to retire.'
+Besides promoting Lewis, 49, the Red Wings retained Barry Smith as associate coach and promoted the former Red Wing Joe Kocur from video technician to assistant coach. Smith was the only other person to interview for the opening, created when Bowman retired on June 13, the night he won his record ninth Stanley Cup.
+'In the days after Scotty Bowman retired, I had some of the top players on our team recommend to me that the best thing we could do for our team was to hire a coach from within,' Detroit General Manager Ken Holland said. 'It was a difficult decision, but I just felt in the end that Dave was the man for our hockey club. He knows our team, he knows our players and he knows their roles.'
+Lewis was a defenseman under Al Arbour for the Islanders, and also played for the Los Angeles Kings and the Devils before retiring on Nov. 6, 1987, in Detroit as a teammate to Red Wings captain Steve Yzerman. Lewis immediately joined the Red Wings' staff under Jacques Demers.
+He later worked for Bryan Murray in Detroit before working with Bowman for the past nine seasons. At the beginning of the 1998-99 season, Lewis shared the head-coaching responsibilities with Smith for the first five games of the regular season while Bowman recovered from knee surgery. Lewis and Smith went 4-1. (AP)
+BRUINS RE-SIGN MURRAY: The Boston Bruins re-signed right winger Glen Murray, their leading scorer from last season, to a two-year contract yesterday. Financial terms were not disclosed.
+A restricted free agent, Murray had 41 goals and 71 points before filing for arbitration. Obtained by the Bruins in a trade with the Los Angeles Kings early last season, Murray has 192 goals and 179 assists in 10 N.H.L. seasons. (Reuters)
+OLIWA SIGNED BY RANGERS: The Rangers yesterday signed the restricted free agent Krzysztof Oliwa, a left wing acquired from the Pittsburgh Penguins last month.
+Oliwa had 2 assists and 150 penalty minutes in 57 games with the Penguins last season.
+In 300 career games with Pittsburgh, the Devils and Columbus, he has 14 goals, 26 assists and 1,039 penalty minutes, In 1997-98, he led the N.H.L. with 33 major penalties and was third in the league with 295 penalty minutes. (AP)
+N.H.L.: ROUNDUP"
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+The Microsoft Corporation today released a new version of its popular Office suite for the Macintosh.
+This newest version underscores how the Macintosh market has continued to diverge from the mainstream of the PC world, because although it is similar to the Windows Office suite, it has some intriguing differences that relate to its history, and to the habits of the Macintosh faithful.
+The new version, Office 2001 for Mac, includes a personal information manager and e-mail program called  Entourage that is roughly equivalent to the company's popular Outlook application for its Windows Office suite, but only roughly.
+The addition is also notable because it is a program that William H. Gates, Microsoft's co-founder and chief software architect, four years ago told this reporter would never be available for the Office version for the Macintosh.
+That was, however, before Mr. Gates achieved a rapprochement with Apple Computer under its new chief executive, Steven Jobs, and invested $150 million in the company. Now Microsoft is the largest software developer for the Macintosh.
+'It's clear to me that although Office is a business tool, the Microsoft developers have clearly had the Macintosh audience in mind for their new product,' said Chris LeTocq, a computer industry analyst at Dataquest, a market research firm in San Jose, Calif.
+Like Outlook, Entourage is intended to blend electronic mail with calendar scheduling, making it possible to organize meetings and appointments and lists of tasks in one integrated program.
+But while the Outlook program is integrated closely with the Microsoft Exchange electronic mail server, Entourage is a stand-alone program, designed that way because Macintosh computers are less common in corporate settings than Windows machines.
+In other ways as well, the Macintosh product is different from the Windows version. The Entourage team said their goal was to cross the boundary between home and office transparently.
+So Entourage automatically retrieves mail from multiple e-mail accounts and enables the user to see all of it in one In box. It also makes it easy for several users of the computer to share the e-mail program.
+In one of its most interesting features, if you go to the address book and enter an address for a contact, there is a button you can click to get driving directions.
+Entourage is also the clearest evidence that as the market for Apple software has declined in recent years, some of the best Macintosh programmers have taken refuge at Microsoft.
+Its Macintosh Business Unit has about 200 employees, about half of whom work at Microsoft's new Silicon Valley campus in Mountain View, Calif.
+Entourage is the most recent work of a small group of these Microsoft programmers, some of whom began developing an electronic mail program called Emailer for the Macintosh in the early 1990's at a tiny company, Fog City Software.
+At that time the Macintosh computer still attracted innovative software first. Microsoft had not yet introduced Windows 95 and was still following the Macintosh lead.
+Among the programmers who worked on Emailer and ended up at Microsoft were Jud Spencer and David Cartwright, who were part of a small team that competed against the Netscape Communications Corporation in the Macintosh browser and electronic mail market.
+The group has produced five versions of the Explorer browser and  has steadily erased Netscape's lead by producing a stable program with a range of features.
+More recently Microsoft has tapped into the community of Macintosh software true believers and hired two young biology students who were dedicated software hobbyists.
+Dan Crevier, 29, had been a graduate student in biophysics at Harvard,  where he was a Macintosh enthusiast.
+'I realized I loved writing software for the Macintosh more than biology,' he said.
+The same was true for Omar Shahine when he was a biology undergraduate student at Georgetown University. Mr. Shahine's Web page reads: 'You may ask what the heck Biology has to do with my current job. . . . Well, nothing. My years of tinkering with my Macintosh paid off!'
+For Microsoft, harnessing the efforts of Mac true believers has led to a boutique, but profitable, software business.
+David Readerman, a financial analyst at Thomas Weisel Partners in San Francisco, estimates that Microsoft's Office business revenue is $8 billion annually and that the Macintosh Office product may bring in around 6 percent of that market.
+'The Macintosh business is more profitable and its revenue contributes more profit than Windows Office,' he said.
+And it aims at a different sort of consumer. The company has substantially redesigned its marketing campaign for Office 2001 for Mac, on the idea that Mac users are individualists and iconoclasts, said Kevin Brown, director of Microsoft's Macintosh Business Unit.
+Mr. Brown, who has worked on both the Windows and Macintosh sides of the Microsoft business, took over from Ben Waldman, who is now working on Microsoft's mobile and wireless business strategy.
+Mr. Brown started as a Microsoft salesman. During his years in the Macintosh division, however, he has been infected with the fervor for the alternative software world that is still embraced by many of its users as a virtual religion.
+During a recent Macintosh show in New York, Mr. Brown was given the opportunity by Mr. Jobs to give a brief demonstration of some of the features in the new version of Office for Mac.
+Although he said he was nervous going onstage before thousands of the Macintosh faithful for the first time, he chanted a short mantra after each new feature: 'Only on the Mac!'
+After just a few moments, he found that most of the audience was chanting with him."
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+It has been said that we learn far more about the character of athletes in defeat than in victory. If this were true, then we would know just about everything there is to know about Greg Norman by now. Because this is a man who  has undergone more torturous losses in major championships than most golfers can even imagine.
+Of course, we don't know everything about this abstruse Aussie and we never will. But we did learn something more about Greg Norman on Sunday, during and after his latest and most rending loss in the Masters.
+And that is this: Not even the worst collapse in major championship history, not even a blown six-stroke lead and a round of 78, the most embarrassingly inept display he has ever put on under pressure, could turn Norman into a jerk.
+He lost the Masters, certainly. Lost it worse than anyone has. Lost his game, his putting stroke, his composure and the green jacket, to Nick Fa'do. But he never lost his class.
+In this day of increasingly churlish and childish athletes -- basketball players, even Magic Johnson, bumping referees and baseball players unleashing expletive-laden diatribes for no apparent reason -- Norman's behavior is something to celebrate.
+There are those who will excoriate Norman. I will not.
+I never had the good fortune to meet Bob Jones, founder of the Masters. But the feeling that he would have liked Greg Norman is inescapable. In many ways, they are kindred spirits. Jones was an understated man and so he and Norman probably wouldn't have seen eye to eye on the Shark's flashy, conspicuous consumption, or even on his nickname. But they would have argued amiably about it over a few glasses of corn whiskey and then shaken hands.
+That's because, above all, and for all his amazing accomplishments and successes, Jones was a sportsman. He understood the nerve-exposing pressures that golfers face. He understood what happens when it all unravels on a golf course like Augusta National. He co-designed the place, after all, and part of the genius of the design is the complete examination it forces players to undergo before wearing the green jacket.
+Norman failed the examination on the course, but he aced the follow-up, a part that is nearly as difficult as the golf, and Jones would have appreciated that. Norman did something Rudyard Kipling wrote about back in 1910. During the  course of this 1996 Masters week, Norman met triumph and disaster. Then, on the  disastrous Sunday, he managed to ""treat those two impostors just the same."" He is more a man for it.
+We have seen golfers who cannot cope with loss. Seve Ballesteros has twice bolted the grounds at Augusta National, wordlessly, rudely, after suffering agonizing defeat in 1986 and 1987. Payne Stewart, after a pair of galling losses in the early 90's, sprinted for the parking lot.
+This is what makes Norman uncommon. We know that he has now had the lead three-fourths of the way through seven majors. He has won one of those. This is  not an admirable record, but it is his record. Let the record also show that not once has Norman refused to answer all the questions, sometimes making excuses but always showing up.
+Think for a moment about how Derrick Coleman, noted National Basketball Association underachiever and misanthrope, would react to an interview request after missing six free throws down the stretch.
+Norman, 41, will likely never match the major championship records of the greats. Faldo, Norman's former nemesis and new-found buddy, joined Jack Nicklaus and Gary Player on Sunday as one of three players to have won the Masters and British Open three times each. It seems a remote possibility th't Norman, with two British Opens as his only majors, will achieve that.
+So be it. Arnold Palmer never won the P.G.A. Championship. Sam Snead never won the United States Open. Seve Ballesteros never won either one and probably never will. Greg Norman just lost another major.
+""I just didn't win today,"" he said on Sunday. ""I'm not a loser.""
+No, he's not. There are those who believe he will never win again. They are wrong. No one who can treat triumph and disaster the same can end on a note like this one. Asked on Sunday how it was humanly possible not to dwell on the Masters, Norman replied, ""Watch.""
+He could we do anything else? Is there anyone in golf more entertaining -- or compelling -- to watch?
+GOLF"
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+Every year since 1979, Ruth Marton has sent $100 to the New York Times Neediest Cases Fund in memory of her sister, Gerd Muehsam, a Holocaust survivor. This year, Ms. Marton added $25 to her contribution to honor her good friend and distant relative Eugene Dorfman, who died in late November.
+""Perhaps I can bring a bit of unexpected comfort to an elderly, ailing and lonely woman, possibly a Hitler refugee, as were my sister and I,"" Ms. Marton wrote in a letter to the fund.
+Charles E. Brenauer of Manhattan sent $60 a few weeks ago. This is his 42d consecutive year of giving to the fund. David Judson gave $500 this year, as did Dorothy K. Davis of Manhattan, who gave in memory of her parents. And Sylvia Civin of Fresh Meadows, Queens, gave $250.
+They are just a few of the consistent supporters of the fund, people who every year, without fail, take a moment out of their frenetic city lives to write a check, and sometimes a modest note.
+""Here is my traditional contribution,"" wrote Vera Glasberg of Forest Hills, Queens, who gave $25. ""I only wish I could contribute more.""
+While the fund has always relied on a core of committed givers, it is equally dependent on new donors to carry on its tradition of assisting New York City's population of homeless, sick and elderly. This year has been particularly difficult for the city's less fortunate citizens. As a result of city and state  budget cuts, nonprofit agencies like the seven supported by the fund have reduced, and in some cases eliminated, social service programs.
+The Neediest Cases Fund dates to 1911, when Adolph S. Ochs, the publisher of  The Times, met a homeless man while taking an after-dinner stroll on Christmas Day. The next year, The Times published a list of the 100 neediest cases, appealing to readers for support. All donations go directly to the charities, since The Times pays overhead. Since this year's drive began on Nov. 23, $278,134.53 has been donated by 964 contributors.
+One of them was Carol H. Kridel of Manhattan, who, like many repeat donors, gave in memory of a loved one. She sent $100 on behalf of her brother, John Walter Hirsch, who was 3 when he died of diabetes in 1917. ""I have continued this tradition ever since my mother died October 1990,"" she wrote.
+Others are responding to the scenes of the street. The vague shape of a body  wrapped in a blanket, lying on the ground or huddled against a building. An elderly person picking through garbage for some bit of food. A man with a cup.
+Those images are not new, but they are apparently as disturbing as ever.
+""I am enclosing my usual check for your fund, and as usual, I wonder how much good it can do,"" wrote Bertha Rader of Manhattan in a note that accompanied a check for $1,000. ""One can't just sit there.""
+HOW TO HELP Checks payable to The New York Times Neediest Cases Fund should be sent to P.O.  Box 5193, General Post Office, New York, N.Y. 10087, or any of these organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE 285 Schermerhorn Street, Brooklyn, N.Y. 11217. CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK 1011 First Avenue, New York, N.Y. 10022. CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS 191 Joralemon Street, Brooklyn, N.Y. 11201. CHILDREN'S AID SOCIETY 105 East 22d Street, New York, N.Y. 10010. COMMUNITY SERVICE SOCIETY OF NEW YORK 105 East 22d Street, New York, N.Y. 10010. FEDERATION OF PROTESTANT WELFARE AGENCIES 281 Park Avenue South, New York, N.Y. 10010. UJA-FEDERATION OF NEW YORK 130 East 59th Street, Room 427, New York, N.Y. 10022.
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+THE NEEDIEST CASES"
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+St. John's played carefree basketball yesterday and comfortably dispatched an overmatched opponent. The Red Storm's 84-59 shredding of Hofstra gave St. John's five consecutive victories over teams it was expected to beat and a 5-0 record for the first time since the 1994-95 season.
+This is worth noting, because in each of the previous two seasons, St. John's lost to a lesser local team early in its schedule. Coach Mike Jarvis said he had more players competing for playing time this season, so the routs are happening more often.
+The Red Storm gave a crowd of 10,729 at the second game of a doubleheader at Madison Square Garden a healthy dollop of intensity by breezing past Hofstra (1-5), which has been depleted by suspensions and an injury. St. John's forced 29 turnovers and limited Hofstra's shooting percentage to 39.7 in an up-tempo game.
+The Red Storm built a 40-22 lead at halftime. A 7-2 run at the beginning of the second half reduced the rest of the game to a playground exercise. As Jarvis substituted freely, a few important developments emerged.
+The swingman Willie Shaw provided the expected spark by coming off the bench to score 17 points in his second game back from a suspension. The freshman point guard Elijah Ingram continued to steady his floor leadership with 17 points and only 2 turnovers. And the team's de facto center, Kyle Cuffe, had 15 points and 12 rebounds for his first double-double. The high-scoring guard Marcus Hatten was relegated to a supporting role with 15 points.
+St. John's could face two more local teams before it begins play in the Big East Conference, but it has already proved its mettle against programs that share its recruiting turf but not its national profile. St. John's has won by an average of 20.8 points, and none of the Red Storm's victories have come by less than 11 points.
+'We're playing every game like it's a big-name school,' Cuffe said.
+Hofstra, which recently made two straight N.C.A.A. tournament appearances, has fallen on hard times. Coach Jay Wright left for Villanova before last season and the Pride stumbled to 12-20 under Coach Tom Pecora.
+This season, Hofstra suspended its best scorer, the senior guard Rick Apodaca, and the sophomore forward Wendell Gibson for 14 games after they tested positive for marijuana. They will become eligible Jan. 18.
+Shaw's suspension, lasting four games, was also because of a positive test for marijuana; he would not comment on the more severe penalty given to the Hofstra players, but he noted their absence.
+'It definitely could have been a different game,' Shaw said.
+With the starting forward Danny Walker out because of an ankle injury, Hofstra has been reduced to the role of a scrappy neighbor that poses no real threat.
+'We stand by our university's policy,' Pecora said. 'You play the hand that is dealt to you.'
+Woody Souffrant led the Pride with 15 points and Kenny Adeleke added 13.
+All signs pointed to a rout in the first half. Hofstra committed 16 turnovers, shot 34.6 percent and went scoreless for 5 minutes 32 seconds in falling behind by 24-8. St. John's extended the lead to 19 points, endured a brief spell in which Hofstra cut the lead to 11, then finished the half leading by 18.
+The Red Storm will step out of its comfort zone Saturday with a game at Wake Forest.
+In the first game of the doubleheader, Mississippi State, ranked No. 24 in the Associated Press poll, beat No. 13 Xavier, 71-61, and Mario Austin topped David West in a battle of preseason all-Americans.
+Austin, a center making his first appearance this season after a six-game suspension, scored 28 points as Mississippi State (6-1) built a 21-point lead in the first half and did not allow Xavier (6-2) to come closer than 8 the rest of the way. West, a senior forward, scored 2 points in the first half and finished with 13.
+COLLEGE BASKETBALL"
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+Columbia University and the University of Michigan are teaming up to sponsor the Royal Shakespeare Company's production of Salman Rushdie's allegorical novel, 'Midnight's Children,' and to bring it to the United States in the spring.
+The production will be presented in January and February in London and in March in Michigan and New York, where it will play at the Apollo Theater on 125th Street. It builds upon scripts that Mr. Rushdie wrote for a five-part serialization of the 1981 novel for the BBC; the project was canceled shortly before it was to be filmed in Sri Lanka because of political upheaval there.
+'It works very well as a stage piece,' said Mr. Rushdie, who is collaborating on the nearly completed script with Simon Reade, a dramaturge, and Tim Supple, a theatrical director. 'In some ways, it is easier to do onstage than on film.'
+He said the production had also renewed interest in making a film.
+For Lee C. Bollinger, Columbia's president since June, the production marks the beginning of what he hopes will be Columbia's expanded role in the arts. A legal scholar who is married to an artist, Jean Magnano Bollinger, Mr. Bollinger has said repeatedly that universities should help nourish contemporary arts. Mr. Bollinger typically carries a small copy of a Shakespeare play with him and is currently dipping into 'Antony and Cleopatra.'
+In recent months he has had discussions with Mikhail Baryshnikov and Bill T. Jones about possible relationships between their dance companies and Columbia, although no agreements have been reached.
+When he was president at the University of Michigan (he stepped down last year), the University Musical Society, its affiliated performing arts presenting organization, joined with the university and put up $2 million to help the Royal Shakespeare Company produce Shakespeare's historical dramas. The company performed at Michigan last year and will return to Ann Arbor both in 2003 and in 2005. Members of the troupe will visit in between as well. The Michigan performances last year were accompanied by lectures, discussions and other educational events for the campus and the community, and Mr. Bollinger plans similar events in New York.
+'This is not simply a performing arts organization saying, 'Watch this performance,' ' he said in an interview. 'It will be much more: the integration of the arts organization and the university. It will be great for the university, great for the cultural institution and great for society.'
+Mr. Bollinger said he hoped Columbia would have a continuing relationship with the Royal Shakespeare Company, as well as one with the Apollo, Columbia's neighbor in Harlem, where 'Midnight's Children' will be presented March 21 to 30.
+David D. Rodriguez, the Apollo's executive director, said that 'Midnight's Children' was 'the first direct artistic collaboration with Columbia that anyone here can remember' and that he, too, hoped there would be more. The theater has 1,500 seats.
+Mr. Bollinger said that he did not know yet what the Shakespeare project would cost but that he expected to cover much of the expense through ticket receipts and outside fund-raising. Neither university would discuss how much it was investing, but Chris Foy, managing director for the Royal Shakespeare Company, said that together the two universities were providing $2 million.
+The Royal Shakespeare Company has been experiencing turmoil in recent months as it debates how and where it should operate, and in July it announced a change in artistic directors, but Mr. Bollinger said he did not expect those problems to create difficulties for the joint venture. He said he had the 'highest regard' both for Adrian Noble, the company's outgoing artistic director, who initiated the Rushdie project, and for Michael Boyd, his successor, who worked on the company's Michigan performances last year.
+Mr. Foy said that affiliations with American universities -- the company has also begun working with theater and media studies programs at the Massachusetts Institute of Technology -- were important. Education is part of the company's mission, he said, and the American audience is important because it is the largest English-speaking audience in the world. He also relishes the chance to appear at the Apollo Theater.
+'To go into a theater with that history is particularly exciting,' he said.
+In recent years, the company has performed regularly in the United States, including in New Haven, Washington, California and New York. For the moment, at least, it is not scheduled to perform at the Brooklyn Academy of Music, where it has appeared in recent years.
+'We do not want to spread ourselves too thin,' Mr. Foy said.
+Mr. Rushdie said this week that the script was all but completed. 'Essentially I need to give it one last polish,' he said.
+'I hope it preserves the heart and the spirit of the book,' he added. 'But the book is a quarter-million words long, and we can't put all of that on the stage.'
+He estimated that the play might run 'three hours-ish.'
+The lushly written book, which won the Booker Prize in Britain, focuses on the troubled coming of age of 2 of the 1,001 children born in the first hour of Indian independence, Aug. 15, 1947, and of India itself.
+Mr. Rushdie said he expected 20 actors to play 60 or 70 roles. One advantage of doing a play rather than a movie, he said, is that theater audiences are more willing to accept actors who play children and adults.
+'So actually, it's more fun to do it onstage,' he said. 'You just say to the actors: 'At this point, you are 10 years old. At another point, you are grown up.' '
+He said he did not know what the cost of the play would be. 'I have never asked and never been told,' he said. 'Plenty, I think.'
+Having Columbia and Michigan as backers has been 'absolutely invaluable,' he said.
+'It has given us the freedom to do the play not as part of the repertory, but as a stand-alone project,' he said. 'We need a cast of about 20 actors, most to play characters of Indian origin. Thanks to the investment of Columbia and Michigan, we can cast it for itself.'"
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+Something happened on the way to the thoroughly engineered Government landslide that is widely expected on Thursday in a parliamentary election here in the world's fourth most populous country.
+An often violent monthlong campaign produced an outpouring of disaffection with the 31-year rule of President Suharto, a tenure that has brought Indonesia increasing prosperity but little political openness.
+Although the Government has sought to control every aspect of the vote -- restricting campaign activities, mobilizing Government workers, vetting candidates for all three parties and reviewing their speeches -- a widespread restiveness and frustration have made themselves felt in rallies, riots and a broad and illegal campaign to boycott the vote.
+'I want to see change in Indonesia,' Mohammad Feli, a 21-year-old art student, said as he eyed the soldiers guarding his alley here in the capital as the campaign ended  last week.
+'There is too much unemployment in Indonesia,' he said. 'I want justice and equality for everyone. I want human rights. I want a system like overseas, like in America.'
+But in an election-eve speech today, Mr. Suharto said democratic development in Indonesia would be 'a long process.' He asserted that a strictly controlled political system was necessary to assure stability and economic development.
+Indeed, the riots that have shaken the country since last July, when mobs rampaged through Jakarta, appear only to have strengthened the Government's sense that Indonesia is too volatile to allow openness.
+'What we have seen in the streets is the revenge of the poor,' said Juwono Sudarsono, vice governor of the Indonesian defense college.
+'A lot of my colleagues argue for American-style openness,' he said.  'They talk of the cut and thrust of democracy. Well, you get a real cut and thrust here, with people using knives to kill each other. Openness among the poor is like giving them a lethal weapon.'
+Elections in this nation of 200 million people, which the Government calls 'festivals of democracy,' are more ritual than substance, offering a rare forum every five years for political expression but producing little effect on the leadership.
+The 500-member Parliament,  made up of 425 elected representatives and 75 members of the military, is largely ceremonial. If Mr. Suharto, 75, chooses to stay on for a seventh term, as most people expect, he will be endorsed next year by a People's Consultative Assembly in which Parliament will be joined by 500 additional delegates selected by the Government.
+And even if Mr. Suharto, known for his surprises, chooses to retire, there is no strong opposition figure in a position to replace him. When people speculate about the future, the guessing game is over who the President might select to carry on his legacy.
+Over the years he has seen to it that no potential successor emerged.  He has named a new Vice President with each election, and a chief virtue of the current incumbent, Try Sutrisno, is his blandness.
+A year ago, when the leader of one of the non-governmental parties, Megawati Sukarnoputri, showed signs of presenting a real opposition, the Government engineered her ouster as party chief.
+The split that resulted has in effect neutered her party, the Indonesian Democratic Party. The Government's election board did not approve either Mrs. Megawati or her supporters as candidates, and Mrs. Megawati -- the daughter of Sukarno, the first President -- has announced she would not vote.
+But despite the restlessness born of his long tenure and of the country's stunted democratic system, Mr. Suharto has stated repeatedly that 'we will not change a system that has proven effective.'
+Some foreign and Indonesian political experts suggest that the recent violence was as least in part a result of the frustration and political immaturity bred by Mr. Suharto's closed political system. An Indonesian election monitoring group that is not sanctioned by the Government asserted this week that the campaign violence resulted from 'inadequate political room and inadequate socialization of nonviolent values and the accumulation of social frustration.'
+With shocking suddenness, a variety of local conflicts have exploded into convulsions of vandalism, arson and looting often aimed at the Chinese and Christian minorities, who are seen as symbols of affluence in Indonesia, the most populous Muslim  nation. Banks, shopping centers, car dealerships and Government offices have been attacked, as well as churches and Buddhist temples.
+In one of the worst incidents, as many as 130 people died on the last day of the campaign in the remote town of Banjermasin when they were trapped in a shopping center that was set on fire by rioters.
+$(Violence continued during the five-day cooling off period after the campaign officially ended. On Thursday, as the polls opened, the police in East Timor reported 12 campaign-related deaths the day before, Reuters reported, quoting the police chief, Col. Yusuf Muharam.$)
+But although the Government system has hardly changed over the last three decades, Indonesia has undergone broad transformations that are straining the social fabric.
+The economy has continued to grow at 7 to 8 percent a year, and the  inflation rate is less than 7 percent.  Jakarta has swollen into a vast and increasingly modern metropolis.
+But economic growth has brought sharp disparities in wealth, widespread unemployment and underemployment, rapid urbanization and social disruption and unredressed seizures of land for new factories, supermarkets, golf courses, housing developments and whole new towns carved out of the rice fields.
+One of the main problems Mr. Suharto's Government faces is an income gap. A thin layer of society has grown very wealthy very quickly. A broad underclass remains very poor.  In between, only about 18 million people make up a middle class that Mr. Juwono said might form the basis of a healthy democracy.
+Another crucial problem is a generation gap. The violence and the most passionate opposition rallies have mostly involved the young and the poor, a fast-growing sector that some analysts say is the greatest threat to stability.
+Of the nearly 125 million eligible voters, fully 20 million have reached voting age only since the last election. Many are unemployed and angry, with some 2.1 million seeking to enter the work force each year.
+More than 80 million people are too young to remember the poverty, hunger and political chaos of the 1960's, when Mr. Suharto came to power. They did not experience the purge of Communists in 1965 that led to the deaths of 500,000 people.
+They take for granted the near-universal schooling, health care and basic services the Government has provided over the last three decades.
+Newly connected to the outside world through mass communications, they are demanding more say in local and national affairs. They are protesting widespread corruption, Government abuses and an often unresponsive local government and judiciary system.
+These themes distilled themselves into a generalized mood of defiance and dissatisfaction in the final days of the campaign.
+'We are the party of the poor!' a demonstrator in Jakarta shouted, waving the green banner of the United Development Party.
+An unemployed bus driver named Ambrosius looked on from among the soldiers who guarded the streets.
+'The future is gloomy,' said Ambrosius, 47, who like many Indonesians uses only one name. 'So many people have no job. There has to be change.'
+His friend Hilarius, who is also unemployed, saw little hope of that.
+'Whoever is in charge, we are still going to be coolies,' he said. 'That's the reality. Change is going to take many years.'"
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+Joel Frahm, one of the young band leaders often heard in New York's small jazz clubs, sounds supremely comfortable playing the tenor saxophone. He has enough physical force to produce a full, mellow sound at a rapid tempo, and sometimes he naturally recalls Sonny Rollins's playing from the late 1950's.
+If developing one's own small-group sound is the toughest challenge of jazz, Mr. Frahm has done the next hardest thing, which is to form effective musical relationships with a number of individual players, including the drummer Matt Wilson, the bassist Omer Avital and the pianist David Berkman. Those relationships have helped nourish the local jazz scene during the last five years, and it is from those relationships that originality can spring.
+Mr. Berkman appeared in the new version of Mr. Frahm's quartet last Tuesday night at Smoke, and the two musicians ran swiftly together, overlapping each other's lines, filling in each other's spaces. There were an awful lot of notes flying around, too many at times, and yet each player has such a strong touch that together they sound joyous in the surety of where they're going. Mr. Berkman can be a great accompanist, playing strange, declarative shapes at irregular moments during someone else's solo. His piston touch doesn't let him fade into the background.
+And that approach works with Mr. Frahm, who has some urgent little idiosyncrasies of his own. In Charlie Parker's 'Cheryl,' a blues, Mr. Frahm attached himself to the root note of the tonic chord, hopping on it and driving it home through a chorus, while Mr. Berkman roamed hungrily around that note. In John Coltrane's 'Giant Steps' they both played flowing improvisations over a rewritten theme, finally ending up in a pleasant prearranged harmony. Together they built ideas that veered toward obsessiveness, but the rhythm section -- the bassist Joe Martin and the drummer Rick Montalbano -- never came undone.
+In the middle of the set the singer Jane Monheit briefly visited the stage to perform Ellington's 'I Got It Bad (and That Ain't Good),' opening it with the verse sung a cappella, and it was impressive. Shrewdly she reconciled the seen-it-all speech inflections of a young, sophisticated New Yorker into a rhapsodic, breathy jazz vocal style.
+JAZZ REVIEW"
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+Perhaps Buck Showalter should ponder pitching Andy Pettitte on three days' rest. Why not? Showalter has discussed starting Jack McDowell and David Cone on shorter rest if it is necessary in the wild-card scuffle, but lately Pettitte has almost been as stellar as the remarkable McDowell and better than the inconsistent Cone.
+Pettitte was precise again tonight. Not shaken by Bobby Bonilla's two-run homer in the first inning, Pettitte calmly stifled the Orioles on three hits until the ninth and led the Yankees to a 5-4 victory at Camden Yards. The Yankees climbed into a first-place tie with Seattle, which did not play, in the ever-tightening and unpredictable American League wild-card race. Texas, which defeated Toronto, 6-1, is one game behind.
+Pettitte, who retired 21 of 24 Orioles from the second through the eighth innings, was two outs away from a complete-game, 5-2 victory when Bonilla singled and Rafael Palmeiro crushed a towering homer off the yellow right-field foul pole to trim Baltimore's deficit to one run. John Wetteland replaced Pettitte and buzzed by Chris Hoiles and Harold Baines for his 25th save, helping the Yankees win for the 13th time in 16 games in christening a stretch drive in which they play 16 contests against teams with losing records.
+""Everybody knows we've got to win every game,"" said Pettitte, who won on the road for the first time since July 27. ""I'm just going about trying to keep us in the game. I've got a lot of confidence and a lot of respect for the game.""
+Where would the Yankees be this season without Pettitte? The 23-year-old left-hander, who displays remarkable poise and a powerful repertory, won his fourth straight start, has a 2.38 earned run average during that span and is doing a wondrous imitation of McDowell. But McDowell has won a Cy Young Award and was expected to produce during a post-season run. Pettitte? He was New York's minor league pitcher of the year in 1994 and was not expected to be so valuable so soon.
+But Pettitte (10-8) has been most valuable and has compiled the most victories by a rookie starter with the Yankees since Fritz Peterson (12-11) in 1966. In an uncertain season in which the injured Jimmy Key managed one victory, the Yanks have desperately needed each of Pettitte's triumphs. He has meshed beautifully and even improved to 3-7 away from Yankee Stadium.
+""When you surround him with Jack McDowell, Jimmy Key, David Cone and Wade Boggs, maybe they don't realize they're supposed to do anything different than those guys,"" said Showalter. ""He's got a respect for the game. There is nothing beneath him. You marvel at that. It's good to see guys grow.""
+Don Mattingly's one-out double off Rick Krivda in the ninth seemed innocent in a 4-2 contest. When Boggs, who did not start because of a strained left hamstring, batted against Terry Clark, Baltimore Manager Phil Regan did not intentionally walk him with the open base. It was a mistake. Boggs laced a 3-2 pitch to left field for a single and a 5-2 cushion. The run, driven in by a player who limped off the field for a pinch-runner, proved pivotal when Palmeiro homered and knocked Pettitte out.
+""What impressed me is I turned to tell him to be ready and he already has his helmet and his batting gloves on,"" Showalter said of Boggs.
+Ruben Sierra complained before the game about his reduced playing time and even had his agent call Showalter, but Pettitte adeptly switched the attention back to baseball. After the first, Pettitte cast the Orioles into a deep slumber.
+Pettitte experienced trouble in the first after he issued a two-out walk to Cal Ripken. Bonilla whacked the next pitch to deep right-center field. Paul O'Neill retreated, measured his jump and the ball glanced off his glove to put the Orioles in front, 2-0. O'Neill tumbled to the ground and slammed his glove against the warning track in disgust at his failure to rob Bonilla.
+But Pettitte rebounded and any disgust disappeared while the Yankees fashioned a neat comeback against Krivda with one in the second, one in the third on Bernie Williams's homer, two in the fourth and one important run in the ninth. Still, the question remained: Where would the Yankees be without Pettitte?
+""Probably the same place we'd be without David Cone, Jack McDowell or John Wetteland,"" Showalter answered. ""I think everyone has played a big part in it. I don't want to single Andy out as a key. He's one of the pieces that got us back in this thing."" INSIDE PITCH
+BERNIE WILLIAMS will travel to Bayamon, P.R., Friday for the impending birth of his daughter and will miss at least one game. GERALD WILLIAMS will probably play center field while Bernie Williams is with his family. . . . DON MATTINGLY's 8-year-old son, PRESTON, gave him some baseball cards and a book to get autographed by CAL RIPKEN. . . . ANDY PETTITTE picked MARK SMITH off first in the second, his league-leading 10th pickoff.  BASEBALL"
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+Britain and China announced a breakthrough today in their bitter 18-month dispute over the future of Hong Kong, agreeing that the colony can build an expensive new airport, but on the condition that China will gain even more influence over Hong Kong's affairs.
+It was an ambiguous resolution at best to the highly emotional airport battle, which was seen by each side as a test of the other's good faith and by some as a sign of China's impatience for control over the prosperous capitalist enclave.
+Britain received the assurances it sought that China will honor any debts the $16.2 billion airport incurs, even after Hong Kong returns to Chinese sovereignty on July 1, 1997. That guarantee was considered essential to attracting private capital, on which the project depends.
+In return, Britain acceded to China's demand that it be formally consulted on all major decisions about the airport. China also received extensive financial influence over Hong Kong, with Britain promising that when the colony is turned over it will have at least $3.2 billion in cash reserves.  British Leader Plans Visit
+Hong Kong has never disclosed the size of its reserves, but they are believed to amount to tens of billions of dollars. China hinted during the dispute over the airport that it believed Britain was trying to empty the colony's coffers before China took control. China will now be able to influence both the financing of the airport project and the colony's overall finances.
+The British Government also announced that Prime Minister John Major would travel to the Chinese capital soon to sign a memorandum of understanding containing the agreement.
+That, too, could prove a bonus to the Chinese; the leaders of the industrialized nations agreed to halt all high-level visits after China's violent suppression of demonstrations in Tiananmen Square in June 1989. Mr. Major's visit would be the first by a major Western leader since then.
+""We have an agreement that enables us to go ahead with this project with the confidence and certainty we've been looking for,"" said Hong Kong's Governor, Sir David Wilson.
+He added, ""I don't think this is a bad deal for Hong Kong.""  The Key Phrase
+The Hong Kong General Chamber of Commerce praised the accord, and Martin Lee, a lawyer who has pushed for open elections in Hong Kong, said he welcomed the agreement's assurances. But Mr. Lee added that the threat to the colony's autonomy was worrying. ""This would be most unacceptable,"" he commented.
+The key phrase in the agreement is, ""Any decision will give full weight to the Chinese Government's views.""
+The problem of what Britain will do if China continues to object to some aspect of the airport project after it is consulted remains unresolved.
+""We think it's reasonable and makes sense to consult China on these issues,"" said Peter B. Davies, a spokesman at the British Embassy here. He added that ""there are no secret annexes"" that stipulate how disputes would be handled.
+Britain had pushed for construction of the airport as a vote of confidence in the future of Hong Kong and to help insure its prosperity after it is returned to China.  Private Capital to Pay
+The current airport, which juts into busy Hong Kong harbor from a crowded residential and commercial district near the heart of the city, will be replaced by a complex on the adjacent island of Lan Tao.
+It will require huge amounts of excavation and landfill and construction of a suspension bridge nearly a mile long. Private capital is expected to pay for much of the project. Morgan Stanley & Company, the American securities firm, is the adviser on raising the billions of dollars that will be required.
+China insisted it had a right to influence the airport plan, even though it has no formal say in the colony's affairs until 1997. At one heated moment a top Chinese Government official said that only the Chinese Government had the right to speak for Hong Kong's people.
+Such remarks and Beijing's relentless criticisms were perceived by many in Hong Kong as meddling, a worrying sign that China would interfere in the colony's capitalist system in spite of a promise it will remain unchanged for 50 years after the 1997 handover. The bickering undermined already fragile confidence in Hong Kong.  A Form of Veto
+Particularly worrisome for the British and many in Hong Kong was a sense that China was exercising a form of veto over a major Hong Kong issue. The project needed China's promise to honor the airport's debts to attract private capital. China had conspicuously withheld that promise; today it was offered.
+As part of this financial understanding, the Bank of China was promised a large role in raising the loans needed for the airport. In addition, a Bank of China official will sit on the governing airport authority.
+The Chinese Government said it would support ""necessary and reasonable borrowing by the Hong Kong Government,"" even if it is to be repaid after 1997. What would count as reasonable was left unclear.
+But China will hold a veto over any steps that would leave the airport with more than $640 million in debt after 1997. A joint committee will be formed, half of whose members will be Chinese, to review all major contracts and franchises that will run beyond 1997."
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+The Clinton Administration sought today to cast the offer of Israel to take back about 100 of 400 deported Palestinians in an optimistic light as Arab countriespressed ahead here with their campaign for Security Council sanctions against the country.
+In Washington, the State Department spokesman, Richard A. Boucher, called the Israeli decision ""a breakthrough"" and said the ""important process that has been established obviates the need for further action in the Security Council.""
+Mr. Boucher said it was now time ""to concentrate our efforts on invigorating the Arab-Israeli peace negotiations,"" adding that the United States would soon be consulting with Russia, the other co-chairman of the Middle East peace conference, about dates for the next round of talks, the ninth. U.S. Hoped for More
+But the 100 Palestinians that Israel has agreed to take back fall well short of earlier American hopes that it could be persuaded to accept at least twice that number immediately and the rest shortly afterward, thus answering Arab charges that it is in violation of the Security Council's order that all 400 deportees be allowed to return..
+Many Council members said today that the Clinton Administration's call for the Council to drop the whole Palestinian issue was making their position very difficult because it seemed that the United States was trying to block discussion of an issue that still angered many countries. Arab and many other nations feel that the Council is imposing a double standard at American insistence whereby it punishes countries like Iraq, Libya and Yugoslavia for defying its orders but excuses Israel.
+Arab countries appeared to harden the sanctions they want the Security Council to impose on Israel until it complies with the Council's demand.
+They dropped a previous suggestion that Israel be banned from future human rights meetings organized by the United Nations, including the world conference on human rights due to take place in Vienna in June. Instead they asked the Council to order all countries to withdraw trade concessions or other preferential economic treatment given Israel, including its important preferential trade arrangements with the United States and the 12 European Community countries.
+Secretary General Boutros Boutros-Ghali appeared to add his voice to those, saying Israel was still not in full compliance with the Security Council's orders.
+Lester Pollock, chairman of the Organization of Presidents of Major Jewish Organizations, quoted the Secretary General, after meeting with him today, as saying he still had ""reservations about whether they are in compliance, reservations about whether a partial return is good enough."""
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+Tony Stewart's crew chief hopped on the radio today and asked Stewart if he was nervous.
+Why should he be, Stewart replied. Everything else had gone wrong this season, so why should this race be any different? He could deal with more rotten luck.
+'I figured something was going to happen, because that's been the story line for us all year,' Stewart said.
+But the story line had a twist: all the bad breaks happened to someone else. Stewart, the defending Nascar Winston Cup champion, won the Pocono 500 and ended a 27-race streak without a victory that lasted nearly 10 months.
+'It sure has been a long, hard year,' said Joe Gibbs, the owner of Stewart's orange Chevrolet.
+The 16th victory of Stewart's brief Winston Cup career lacked drama. Stewart took the lead from Sterling Marlin on a yellow-flag pit stop with 44 laps left in the 200-lap race, and a final-lap sprint between Stewart and Mark Martin dissolved because of an accident behind them.
+'I feel like the crew won us the race, not me,' said Stewart, who won the race under caution.
+But at least he won. Stewart had only one top-five finish in the first 13 races of the season, and he started the day in 16th place in the drivers' point standing.
+Stewart was penalized a lap during a June 1 race at Dover, Del., because of a pit infraction. He led for 100 laps early in an April 27 race in Los Angeles but blew an engine and finished 41st.
+'Everything has to be 100 percent, every lap, in order to win,' Greg Zipadelli, Stewart's crew chief, said today.
+A little luck was apparently all Stewart's team needed. He qualified fourth for the 500-mile race, and he held the lead at three times in the first 127 laps. It appeared that the only gamble he could lose was deciding when to pit for a splash of fuel late in the race.
+Had Stewart pitted just before a caution flag, he would have lost track position and would have had to battle to the front of the pack again. But everyone else also needed a little fuel to finish the race, and Stewart was in the lead well before the next caution period.
+'It's fun when it all works out the way you want it to,' Zipadelli said. 'Most of the time this year, it hasn't worked out that way.'
+Martin averaged 134.892 miles an hour and earned $214,253.
+Kurt Busch, a teammate of Martin's, and the third-place finisher, Matt Kenseth, slapped the wall with six laps left. Stewart's lead over Martin -- 1.628 seconds, or about 150 yards -- evaporated in an instant.
+But Stewart had a good jump on Martin on the restart. Martin had no chance to catch him before Terry Labonte nudged Jeff Green behind the leaders, sending Green's car into the retaining wall with a thud and bringing out the fourth caution flag.
+Even though the front end of his car was crumpled to the windshield, leaving two air hoses protruding from the front like a pair of elephant tusks, Green was not injured.
+'I hate it; I never meant to get into Jeff there,' Labonte said. 'He's a great competitor and he was having a really great run there, but I had such a good run on him, and we got together.'
+Martin never had a chance to race Stewart, and Martin finished second again at Pocono. Martin has finished second four times and among the top five 17 times in 33 races at Pocono, but he has never won here.
+Asked if he felt as if Pocono owed him a victory, Martin told reporters: 'You guys are all mixed up. You just don't get it. I mean, it's hard to run second. Everybody else out there wanted to run second, except for Tony Stewart, compared to what they did.'
+Kenseth, who extended his lead in the Winston Cup points standing to 176 from 171 over Dale Earnhardt Jr., was not disappointed to finish third, either. Kenseth ran out of gas early in the race on pit road, and his crew had to push him a long way to get him restarted.
+'It was a panic moment,' Kenseth said.
+AUTO RACING"
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+A South Korean jumbo jet slogging through a late-night downpour  crashed yesterday in the jungle hills a few miles from a runway on Guam after the pilot reported trouble. Most of the 254 passengers were presumed dead, officials on Guam said.
+A spokesman for Korean Air said that 49 people had been pulled from the wreckage of the Boeing 747-300, which was left scattered and burning in a remote ravine, and that 30 had minor injuries. Earlier an airline official in Seoul told Agence-France Presse that some of the 49 may have died after admission to hospitals on Guam.
+Rescue workers who reached the site with flashlights found at least 35 survivors, The Associated Press reported.
+The plane, Flight 801 from Seoul, South Korea, was about half full, with 225 adults, three children, three infants and a crew of 23, officials in Guam said. The travelers were mostly Koreans -- vacationers, and honeymoon couples -- and at least 13 Americans. It was not clear whether the pilot or copilot had survived.
+Because of the bad weather, darkness and low visibility, the plane would have been relying more heavily on instruments to make the landing at Agana International Airport, where a radio system that tells pilots whether they are flying high enough as they approach the runway had been out of service since last month.
+Officials from the National Transportation Safety Board said investigators had found the voice and flight data recorders, which could help reconstruct the pilots' actions and the plane's movements in the minutes before it went down.
+In Seoul, Korean Air said the circumstances indicated that the crash was caused by bad weather and faulty equipment at the airport on Guam. However, a Korean aviation expert said that human error or engine trouble could not be ruled out.
+White House officials said they had no early indications that terrorism had been a factor in the crash.
+Witnesses said the plane plowed through the jungle trailing smoke and flames, before it came to rest. The first rescuers had to make a maddeningly slow journey to the wreckage, trudging in with flashlights after hacking their way through razor-sharp grass that came up to their shoulders. They were followed by a bulldozer that slowly leveled a path over the rocky ground, the witnesses said.
+Even so, evacuating the survivors was arduous -- because of uneven ground and uncertain footing, it took four people to lift out each stretcher. At least 30 survivors were picked up by helicopters piloted by aviators with night-vision goggles, who took them to two hospitals -- 17 to an American naval hospital, and 12 to Guam Memorial. Most of the survivors were being treated for second- or third-degree burns, officials said.  With the jet still smoldering, Navy construction crews began moving in to crack open the fuselage and try to rescue any other passengers who might still have been alive. Local officials also set up a makeshift morgue where they carried the bodies of victims.
+The area of the search was extended to surrounding areas to look for people who may have been flung away from the plane by the impact, Reuters reported from Agana.
+'We are continuing to go to the wreckage site to make sure that there is no one we are not able to find,' aid a spokeswoman for Gov. Carl Gutierrez of Guam.
+Reuters quoted witnesses as saying that the plane split into five parts when it crashed.
+'I saw some people were able to walk away from the wreckage,' said Dr. Michael Lancer, a Guam resident who reached the wreckage while it was still burning. 'The plane was in five pieces and it's a miracle that anyone could come out of this.'
+Witnesses described a bright burst of light in the foggy night sky, but it was not clear whether that was the fire set off by the crash or whether the flames began while the plane was still in the air. Melissa Arnett, a 15-year-old high school student who had climbed out of bed to close her window because rain was blowing in, said she saw a red flash after hearing the plane lumber over.
+'It was pretty frightening,' she said.
+Officials said the 13-year-old jet was running about an hour behind schedule when it was cleared to land on a runway that was built by the Japanese during World War II. But the big jet made it only as far as Nimitz Hill, a thinly populated area where Guam's limestone plateau gives way to mountains volcanoes. The visibility was about a mile.
+Investigators were on their way to Guam last night. An 18-person team from the National Transportation Safety Board left Andrews Air Force Base near Washington on a military transport plane; other agency officials left from Los Angeles.
+George W. Black, the agency official in charge of the investigation, said that recovering pieces of the wreckage would not be difficult despite the nature of the terrain. Accompanying him was Greg Feith, who headed the investigation of the ValuJet crash last year in the Everglades. That crash was attributed to a fire aboard the plane.
+'Before T.W.A. 800 and ValuJet, I would have said the terrain might be a problem,' Mr. Black said. 'If we can do that, we can do anything.'
+The investigators will almost certainly look into why the plane flying as Korean Air Lines 801 yesterday was a Boeing 747 -- normally Flight 801 uses an Airbus.
+It was not immediately clear whether the change was a factor in the crash. But in such accidents, one  question investigators routinely ask is whether the crew was familiar with the airport. Because the 747 does not ususally travel this route, its crew may have been unfamiliar with the approach; flight crews do not usually switch between Boeing and Airbus planes.
+Bad weather could have added to the tensions in the cockpit on a first-time crew's approach.
+Officials said that Flight 801 radioed the control tower at about 1:50 A.M., when the plane was seven miles away. Andrew Murphy, a spokesman for the airport, said the report mentioned trouble, but he said he did not know whether the problem was the too-low approach or a mechanical malfunction.
+The tower called the plane at 2 A.M., Mr. Murphy said. 'There was no response.' A few minutes later, he said, the tower received word of the crash.
+The plane appears to have crashed almost directly on top of a navigational device that it should have been using to guide its descent. Aviation experts said that raised the possiblity that the pilot had been confused about where he was in relation to the runway or to prescribed altitude checkpoints along the way.
+The pilot would have needed the navigational device, known as a vortac, because of the problem with the instrument-landing beacon. The beacon provided a signal known as a glide slope indicator, which tells a pilot whether the plane is too high or too low as it approaches the runway. That system had been out of service since July; the F.A.A. said it had cautioned pilots about the problem in a recent 'Notice to Airmen.'
+Without the glide slope indicator, the procedure would be to use the plane's altimeter and distance measuring equipment as the plane flies a prescribed path. The F.A.A.'s approved approach called for maintaining an altitude of 2,600 feet, which would have put the plane between a sandwich of clouds -- below a layer at 3,500 feet and above a broken layer at 1,900 feet..
+The plane should have been relying on the vortac, which announces its identity in the dots and dashes of Morse code -- in this case, the letters U, N and Z. The device, about 3 miles from the end of the runway, also sends a signal that lets a computer on the plane calculate the distance to the vortac.
+The approved approach called for the plane to descend to 2,000 feet by the time it was 1.5 miles ahead of the vortac. The F.A.A. does not specify the altitude at which planes should cross over the vortac, but Flight 801 should should have been down to 980 feet when it was 1.3 miles beyond the vortac. It never made it that far, crashing on top of the vortac. Pilots sometimes refer to this point as the 'cone of silence,' because signals from the vortac cannot be heard when the device is directly below.
+The crash seemed unlikely to rekindle the diplomatic tensions that followed two incidents involving Korean jetliners in the 1980's.
+In September 1983, a Korean Air 747 was shot down by Soviet jet fighters, killing all 269 aboard. The Soviets maintained that the Alaska-to-Seoul flight was an intelligence mission.
+In 1988, the United States put North Korea on its list of nations that support international terrorism, citing its role in the November 1987 bombing of a Korean airliner that killed 115 people. The evidence against North Korea was based on the confession of a North Korean woman who said that she and an accomplice had planted a time bomb on the plane on orders from the son of North Korea's then leader, Kim Il Sung. The Boeing 707 blew up on the way from Baghdad to Seoul."
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+It is nights like tonight that you look at the Nets and begin to wonder: Is this team for real? Six Nets players scored in double figures against the Atlanta Hawks and for a brief moment they didn't look like Team Turmoil. They just looked good.
+Now that the Nets have your attention after spanking Atlanta, 122-115, before 9,069 at the Byrne Meadowlands Arena, let's review a few facts. The 8-7 Nets have won four straight games. The last time they were above .500 at this point in the season was November 1986. They are walking the walk, and after the game, they were talking togetherness, not trash.
+""We have to play together because there are no excuses this year,"" said center Sam Bowie. ""We can't say, 'We're not happy with the coach or we're not happy with whatever.' We should win. Coming home like this, this was a must-win game for us."" Controlling Wilkins
+And this was one of their most convincing of the season. After a successful and tiring trip to the West Coast, the Nets could have come back and tripped over themselves. But they didn't, playing intimidating defense by blocking eight shots and holding star foward Dominique Wilkins to 5-of-22 shooting and 18 points.
+The score was not a true indication of how the Nets dominated the Hawks. As Bowie bluntly stated: ""We kind of played with Atlanta if you will. That's not a put-down against them, but it's the truth.""
+The Nets are winning despite changes in their lineup because of injuries. On Tuesday, the Nets put forward Jayson Williams on the injured list, which means he will miss at least five games. They activated backup center Dan O'Sullivan, a Bronx native. Derrick Coleman, fighting back spasms, was in the lineup after missing two games.
+But as sore as Coleman was, it didn't show. He led the team with 21 points, eight rebounds and four assists. He also had three blocked shots. It was an impressive performance, and showed the kind of things Coleman is capable of doing.
+""We had to step up on defense,"" said Coleman. ""You need that. Defense starts our offense. Anybody can score. But can you buckle down and stop people?""
+Guard Drazen Petrovic had 20 points and forward Chris Morris had 19. Kenny Anderson had 11 points and 8 assists. Guard Rumeal Robinson, playing against his old team, took advantage of Coach Chuck Daly using four guards and scored 18. Mahorn Makes Presence Felt
+It was forward Rick Mahorn who perhaps set the tone for the game early with his big body. He had just 8 points but along with Bowie had 11 rebounds. Said Mahorn: ""You have to establish yourself at the beginning of the game. Once you set the tone, it carries you.""
+You see two things with the Nets and both were evident tonight. One, this is a team that, when at its best, seems able to compete with just about any team in the league. The Hawks are not a bad team, entering this game winning five of their last six.
+The key for New Jersey was controlling Wilkins, and most of the credit should go to Morris, who shadowed Wilkins most of the game. The Hawks were also hurt when forward Kevin Willis was ejected after two technical fouls in the first half. But the Nets were playing so well his presence probably wouldn't have made much of a difference.
+But the second thing is this: Sometimes the Nets are prone to serious mental lapses. The Nets had Atlanta down by as much as 17 points midway through the third period, but a series of turnovers and blown defenses allowed the Hawks to cut it to 83-76 before Daly was forced to use a timeout. It was 89-80 at the end of the third, but late in the fourth it was 113-99.
+Also, the Nets allowed center Jon Koncak, who has the mobility of a redwood tree, to shoot the lights out. He was 7 of 9 for 15 points.
+""At times I thought we played well,"" said Daly. ""If we could just sustain it and play consistent. We don't win pretty, that's for sure. We win kind of ugly sometimes.""
+But the low points in this game were few. Now, as Daly said, it's important for the Nets to ""not get carried away. We have San Antonio on Friday and David Robinson.""  PRO BASKETBALL"
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+The New York CityHawks got a gift of a fumble late in the game, but they still lost, 39-32, to the New Jersey Red Dogs last night before an announced crowd of 9,692 at Continental Arena.
+The Red Dogs, who improved to 6-4 and are still in the playoff chase, are 4-0 in their two-year rivalry with the CityHawks (2-8), who dropped their sixth straight.
+The CityHawks had a chance when Red Dogs quarterback Rickey Foggie, nursing a 7-point lead with 38 seconds to play, fumbled on a keeper. James Bowden recovered at the Red Dogs' 9. But two plays later, Perez was intercepted in the end zone.
+RON DICKER
+PLUS: ARENA FOOTBALL"
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+LEAD: THE Maria Benitez Spanish Dance Company presented a compelling program on Tuesday at the Joyce Theater, 175 Eighth Avenue. But there was one moment that stood out. It came with a farruca performed by Eduardo Montero. Choreographed by Jose Luis Ayuste to traditional music, the solo gave Mr. Montero, a guest artist with the company, a chance to let loose with steely, lacy fusillades of foot beats of such exquisitely precise timing and dynamic range that one watched breathlessly.
+THE Maria Benitez Spanish Dance Company presented a compelling program on Tuesday at the Joyce Theater, 175 Eighth Avenue. But there was one moment that stood out. It came with a farruca performed by Eduardo Montero. Choreographed by Jose Luis Ayuste to traditional music, the solo gave Mr. Montero, a guest artist with the company, a chance to let loose with steely, lacy fusillades of foot beats of such exquisitely precise timing and dynamic range that one watched breathlessly. And near the end of the solo, Mr. Montero extended his arms to the audience, his face crumpling, just a little like a singer drawing in his listeners triumphantly as he hits a final, exhilaratingly exhausting high note.
+It was a fitting gesture, so challenging a virtuosic tightrope did Mr. Montero probe, at one point seeming to 'play' his feet like a complex musical instrument. In those few seconds, Mr. Montero offered a perfect, living thesis on artistry and the relationship of the artist and the audience. He spun. He glided. He drifted across the stage on the velvet texture of his footwork like the sleepwalker in George Balanchine's 'Sonnambula.' Then suddenly, at the end, he slowed to an amble, shrugged and walked off the stage in the best boulevardier tradition.
+Mr. Montero epitomized the cool in the fire-and-ice art of Spanish dancing. And there is a good deal of cool in the performing of Miss Benitez and her company, who will be at the Joyce through Sunday. At first the slightly distanced quality of Miss Benitez's performing was puzzling. No tearing the stage to tatters here, except in the most reasoned of ways. But that distance is one of thoughtful good taste and a kind of purity that connotes great seriousness about one's art.
+That was evident in Miss Benitez's dances, among them 'Andaluza,' a new solo choreographed by Rosita Segovia to music by Manuel de Falla. Here and throughout the program, there was much to admire in her long line and lyric articulation of hands and fingers, as well as in the lean and hungry way she moved into the dances, a quality that was nicely enhanced by Mr. Montero's genial and courtly partnering.
+The ensemble pieces on this program of ten dance numbers included three fascinating pure-dance excursions into another culture. There was the sexy, hypnotically precise 'Zapateado' choreographed by Mr. Montero and performed by Rosa Mercedes, Faustino Rios, Monica Flores and Miguel Diez, in gaucho-style clothes with the men wielding swords. With its high kicks and earth-hugging gallops, 'Viva la Jota!,' choreographed by Pedro Azorin to music by Echegary-Caballero, offered an exuberant argument for the popularity of this dance from northern Spain. And 'Sonata,' choreographed by Miss Segovia to music by Scarlatti, was a sweetly merry exercise in the escuela bolera style of the late 18th century, complete with ballet-style beats. The cast was led by Miss Mercedes, who darts like a hummingbird through her dances, and completed by Ana Diaz, Cristina Masdueno and Xiomara Prats.
+There were slow stretches in the first half of the program, but the evening came to an exciting traditional close with 'Jaleo' and 'Finale,' with solos for most of the company, which also included Dolores Espinosa. The dancers were accompanied by Cuquito de Barbate, the ensemble's rousing singer, Paco Izquierdo, the fine solo guitarist, and Guillermo Ros, also on guitar. Craig Miller designed the strong lighting for this well-staged program."
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+THE campaign to sell barbecue grills to vegetarians is languishing. The boss wants ideas, and he wants them Thursday. You could roll in your rocking chair until an idea comes. You could take a long, ruminative walk. You could ask the fellow who delivers the pizza.
+Mindlink Problem Solver, Corporate Edition, a Windows program from the Mindlink Software Corporation of North Pomfret, Vt., extracts ideas buried in your head. It is a solo brainstorming session. It keeps track of crazy ideas that may lead to more crazy ideas; out of 100 ridiculous suggestions, one can point the way to a practical solution.
+There are six icons on the opening screen: The Gym; Idea Generation; Guided Problem Solving; Problem Solving; Evaluate and Refine Concept, and Thought Warehouse. I clicked Idea Generation, then New. Invited to name my problem, I typed ""column opening"" and clicked Next.
+The program's screens are neatly laid out, and the directions are clear. The first one told me to ""write a clear, brief, and focused statement that captures your problem."" I typed, ""How to begin a column on Mindlink."" Next was Problem Background, with questions. What do you know about the problem? Response: ""The program guides you in solving problems."" What does anybody else know about it? ""Everybody has problems, and ways to solve them, successfully or not."" What has already been tried? ""Thinking, sleeping on it, hoping for the best."" What portion of the problem is yours to solve? Describe what you hope to get from this session.
+Next, I entered ideas. There were too many to list here, and some would be embarrassing. The more relevant included ""a simple statement of what the program says it can do"" and ""a silly but apropos story or joke."" Then Mindlink invited me to click on Trigger. This led to Absurd 2, combining ""absurdity with some creative writing."" Three elements were offered to be incorporated into an opening paragraph or outline: rocking, street merchants, hike. This is where the process got intriguing, and hard. I wrote: ""You must solve a business problem. You could sit in your rocking chair until an idea comes. You could take a long walk. You could ask the fellow you buy the morning paper from.""
+Invent two ""absurd"" ideas about your wish. Oh, my. Sell refrigerators to Eskimos? Trite. ""Sell barbecue grills to vegetarians."" ""Let him who is without sin throw the first rock at the chair."" Now use parts of the absurd ideas to generate new working ideas. ""The campaign to sell barbecue grills to vegetarians is languishing. The boss wants ideas, and wants them now. You could sit in your rocking chair until an idea comes, or maybe a rock instead.""
+When you return from the Idea Trigger module, you are offered several options. I chose Summary, and a neat outline of my thoughts, organized under subheadings, appeared on the screen. After looking over the outline, I selected Next and was told that I had produced nine ideas, but that at least 15 are recommended. I clicked Trigger again, and could have pursued ""depressed, acorn, climb."" Another click brought ""rolling, seashell, faint."" When Mick Jagger retires, will he sit in a rolling chair? This was getting absurd, which was the idea. It was also getting to be fun, but we have deadlines.
+My session was limited to the Idea Generator. Of the other sections, The Gym is a series of exercises; Guided Problem Solving is a tutorial; Problem Solving is for generating and organizing ""wishes, ideas and potential solutions,"" to quote from the excellent 100-plus-page manual; Evaluate and Refine Concept lets you use the problem-solving part of the program for an idea developed outside of Mindlink without starting all over again, and Thought Warehouse is a database for your ideas, far better organized than the one between your ears.
+Mindlink Corporate Edition sells for around $200. The number for information is (800) 253-1844.
+Mindlink is based on techniques licensed from Synectics Inc., an international management consulting firm. As a Windows 3.1 program, it should also work with OS/2 and, when it appears in a couple of weeks, Windows 95. For Windows 3.1, four megabytes of RAM are required, eight recommended; 10 megabytes of hard-disk space are required.
+""Hard, surfboard, read."" The campaign to sell surfboards to Saudis is languishing. ""Darkening, popcorn, study."" The campaign to sell Patagonian popcorn is darkening. ""Pungent, egg, suspend . . .""  PERIPHERALS"
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+Even for a high-voltage performance artist like Sarah Jones, this was some assignment: draw life and soul, hurt and anguish from the paper and ink of laws that discriminate against women worldwide. That is what Ms. Jones was asked to do by a international women's organization looking for a way to make a United Nations conference sit up and take notice.
+'I've always got some sort of ax to grind in my work,' said Ms. Jones, 26. So she took the challenge. 'We get to kind of play with reality a little,' she added.
+The result is 'Women Can't Wait,' a show written and acted by Ms. Jones, who honed her accents and pithy character portrayals at downtown poetry slams, then graduated to small clubs. Her first solo show, 'Surface Transit,' a collection of eight New York characters created around the themes of tolerance and intolerance, had its premiere in 1998 at the Nuyorican Poets Cafe and later played at the American Place Theater. It was praised in publications like The Village Voice and Time Out New York and is headed for a summer run at P.S. 122, starting on June 14.
+Ms. Jones -- born into a multiethnic family in Baltimore, raised in Washington and New York and educated at Bryn Mawr -- writes her own material. Her ideas and characters have always come from her own experience, she said. Until now.
+Like 'Surface Transit,' 'Women Can't Wait' has eight characters. But these are not the people she sees around her in New York, where she lives. Ms. Jones uses only one prop, a diaphanous shawl, to create her international population. She covers her head and becomes Praveen, a timid woman from India working up the courage to talk about beatings by her husband and the family that denied her sympathy. In an instant, with the shawl transformed into a scarf tied jauntily around her neck, she is Emeraude, a vivacious Frenchwoman defying laws against women working at night.
+And so it goes: shawl up, shawl down, shawl around the waist or over her shoulder. Ms. Jones is Tomoko from Japan, Hala from Jordan, Alma from Uruguay, Bonita from the United States, Shira from Israel. By the time she becomes little Anna from Kenya, the shawl has been balled up and transformed into a child's doll.
+Through it all runs the thread of women who do not theorize but speak from personal, often horrific experience and who sometimes awaken to the injustice done them.
+Today 'Women Can't Wait' will have a different audience from the one Ms. Jones normally draws in clubs. It is to be performed at the United Nations for official delegates and nongovernmental representatives at an international conference being held five years after the world's largest gathering of women took place in Beijing in 1995.
+Meryl Streep will introduce Ms. Jones. Two additional shows, also limited to conference participants, will be held at the United States Customs House, where the United States government and New York City are to act as hosts to unofficial delegations to the weeklong United Nations meeting. The conference will bring thousands of women from more than 150 nations to the city.
+She will also perform 'Women Can't Wait' on Friday night at 8 at the Judson Memorial Church, 55 Washington Square South, Greenwich Village. Gloria Steinem will introduce Ms. Jones at that performance, which is open to the public.
+The organization that commissioned the one-woman show, Equality Now, an advocate for women's rights based in New York, works with immigrants in the United States and women in poor countries to fight  laws that it identifies as limiting women's rights and freedoms. For inspiration, it provided Ms. Jones with videos of women in various countries. She said she was deep into research for the piece on the Internet, which she calls 'an interesting kind of portal' to the world.
+As she does in her other work, she drew ideas from real people but invented her own characters, writing their speeches herself. In this way her pieces differ from those of Anna Deavere Smith, who interviews people and uses their words onstage.
+Ms. Jones, who volunteers in a homeless shelter on Saturdays, said she also drew on those experiences to create her portraits of oppression.
+'These women in the shelter, many of them are facing some of the same problems,' she said.
+Ms. Jones's parents are both doctors who met at Johns Hopkins University, an African-American father and a mother of European and Caribbean descent. She said she picked up her fascination with accents and mannerisms while a high school student at the United Nations International School in New York. 'So this show is a homecoming for me,' she said.
+'I've never been trained; I laugh when people call me an actor,' she said. 'In my family background I had access to different accents. And then in school, it was amazing. There were all these kids, something like 150 nationalities, and everybody had these gorgeous accents, and I would listen all day. The U.N. school opened up so much for me. It really broadened my horizons. As a kid I was suddenly aware of the plights of people not only in my own backyard but all over the place.'
+From there she went to Bryn Mawr College. 'I drifted into performance art in the middle of college, and it yanked me right the heck out of the Main Line area and back home,' she said.
+'Surface Transit' brought Ms. Jones to the attention of Equality Now after Ms. Steinem, an adviser to the group, saw her show. Then, in December, the group's executive director, Jessica Neuwirth, was taken by her staff, as a birthday gift, to a club where Ms. Jones was performing, and she was invited to prepare her piece for the United Nations conference.
+Writing 'Women Can't Wait' has been a consuming journey, Ms. Jones said. 'It's life and death,' she said. 'This is about actual peoples' lives'  being on the line every day.'"
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+More than a year after Carlos Salinas de Gortari left Mexico's presidency, a secret Central Intelligence Agency report assured American officials that there was no hard evidence linking him to the scandals that had soiled his administration.
+'We do not at this time have a 'smoking gun' that implicates former Mexican President Carlos Salinas de Gortari in influence-peddling and graft,' the document began.
+But in its next breath, the C.I.A. assessment, dated Dec. 27, 1995, raised serious doubts about the integrity of the Harvard-trained economist whom Washington had once hailed as the beacon of a new political generation in Latin America.
+'Circumstances and fragmentary reporting strongly suggest such involvement,' the report continued, referring to Mr. Salinas's possible participation as President in the corrupt activities of his relatives and aides.
+Caution in such appraisals is nothing new. But in recent years, as the character of Mexican politicians become an important issue in Washington, American officials say reports on the subject have often raised ambiguity to an art form.
+The C.I.A. report, a copy of which was made available to a reporter, includes some intriguing allegations. But even in its details, the document underscores the limited effort American intelligence officers seem to have made to sort out such accusations.
+The former Mexican President has never been charged with any crime and denies knowing anything of the misdeeds with which his elder brother has been charged.
+Mr. Salinas did not return telephone calls today.
+The C.I.A. report does not delve into those issues in detail. Rather, it synthesizes what several American officials described as a typical mix of assertions by confidential informants and circumstantial evidence.
+'A very few intelligence reports, from sources of varying reliability, link former President Salinas to illegal activities, although none ties him directly to narcotics trafficking,' the document states. 'Salinas's hands-on approach to governing during his tenure as President makes it unlikely that he had no knowledge of his brother's affairs or the shady dealings of other close associates.'
+The report goes on to recount a series of charges:
+*An informant of 'undetermined reliability' had reported that before the sale of Government-owned banks by Mr. Salinas's administration in 1990, Raul Salinas and other members of the President's family used inside information to invest heavily in financial instruments that later jumped in value.
+*During the race leading up the election of his successor in 1994, Carlos Salinas pressured the campaign of his own party's candidate, Ernesto Zedillo, 'into hiring Ana Paola Gerard -- who was widely rumored to be his mistress -- at an exorbitant salary.'
+*An investigation into 'alleged narcotics links of former Agriculture Secretary Carlos Hank Gonzalez highlighted a relationship, which Zedillo's investigators felt cast suspicion upon the former administration, between Hank, Carlos Salinas and another prominent family suspected of laundering drug money.' The report attributes the information to the intelligence service of another foreign government.
+When such charges reached the C.I.A. is unclear. But there is little indication that American intelligence officers made much of an effort to determine their veracity.
+By the time that agency officials compiled the report, for example, the relationship between Carlos Salinas and Ms. Gerard was more than a rumor. Ms. Gerard, 36, a former presidential aide, was about to give birth to Mr. Salinas's daughter."
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+Vernon Lloyd-Jones, a 67-year-old businessman who came from Wales to join a sea of people mourning at Kensington Palace, where Diana, Princess of Wales, had lived, watched the crowds streaming in to pay their respects as he listened to Queen Elizabeth praising her former daughter-in-law.
+'Until last week I liked the monarchy,' he said. 'But the way they treated her, they were so cruel.'
+That seemed to be the predominant mood of the crowds gathered by the tens of thousands here tonight to pay their respects to Diana.
+Again and again, people who came to Kensington Palace park to pile flowers over the vast lawns, light candles and pray quietly in front of her home expressed little affection for the Queen, the House of Windsor, even the notion of monarchy.
+'Surely she could have said something earlier!' said Stella Parkinson, 67, a retired credit controller who had been here for hours with her daughter and granddaughter. 'They used her to produce heirs to the throne and then got rid of her. I used to like the monarchy. No more.'
+As night fell, thousands more  poured in to the park. Candles flickered everywhere. Some wept. Children played around their parents. Some simply did not want to leave.
+'She could have said something earlier in the week,' said Michele Heathcote, 16, a student, who fought back tears. 'I think the royal family is very worried about the anger felt by those of us who are taking Diana's  loss very personally.'
+At a nearby restaurant, Maurice Fyles, a 30-year-old market researcher, said: 'The thing about Diana is that she was the first one in this royal family to say, 'This is how I feel.' Her death and the astonishing reaction to it will change the way the royal family talks to the public. That was the meaning of this speech by the Queen.'
+Attaching a card that read 'Diana, the best Queen we never had,' Thilina Abayawardana, a civil servant at the Inland Revenue, the British equivalent of the Internal Revenue Service, had the kindest words to say about the Queen and the royal family: 'She has listened to her subjects and tried to please them. She understood what Diana meant to us.'
+The Rev. Jonathan Blake, who came with his son and daughter, said: 'I am pleased to have heard the speech. The Queen did well to respond to public feelings. People thought Diana a beautiful person. She is richly loved because she was real and enriched people with her tenderness. She made mistakes. She loved. She suffered. She was very different from the royal family.'
+Michael Pallette, 62, a teacher, said of the royal family: 'They should have treated her with this sort of regard during her life. They never appreciated her. This extraordinary week of public grief suggests to me they have made a terrible error. Personally I can do without the royals.'
+DEATH OF THE PRINCESS: THE MOOD"
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+Jermain Taylor and Winky Wright fought to a draw Saturday night, allowing Taylor to retain the undisputed welterweight championship. The judge Melvina Lathan scored the fight even (114-114), the judge Chuck Giampa scored it for Taylor (115-113), and the judge Ray Hawkins scored it for Wright (115-113).
+It was a close bout with no knockdowns, and neither fighter was seriously hurt. But Wright appeared to be more upset with the decision, leaving the ring almost immediately after it was announced. The crowd at the FedEx Forum reacted with mixed emotions.
+Taylor's left eye was nearly swollen shut, but that never prevented him from pressing forward, or from seeing Wright's punches.
+The two entered the final round knowing the outcome was at stake, but the final round was close, as were many rounds in the fight.
+It remained to be seen if Taylor (25-0-1) would give Wright (50-3-1) a rematch, coming off tough back-to-back 12-round battles against Bernard Hopkins. Perhaps Taylor will want an easier opponent in his next fight, which could leave Wright, at age 34, even more unhappy.
+Taylor praised Wright afterward.
+'He had a great jab,' Taylor said. 'I didn't think his jab was going to be as fast as it was. In the last round, I couldn't see out of my left eye. I knew it was a close fight. It could have gone either way.'
+Wright might have made a mistake, not throwing many punches in the final two rounds.
+'I felt if he wanted the title so bad, he should have fought all 12 rounds,' Taylor said. 'I fought all 12. This is boxing, You have to fight all 12.'
+Asked if he would give Wright a rematch, Taylor said: 'Yes sir. I would fight him again anytime.'
+Wright said he felt the decision was influenced because the fight took place a two-hour drive from Taylor's hometown, Little Rock, Ark.
+'If I didn't win the 12th, then who did?' Wright said. 'He certainly didn't. I'm in his hometown, they gave him what he wanted. All the fans saw who won the fight. I don't want no rematch. If I have to come here and get this kind of decision, there's no point.'
+Taylor tried to land a punch that would take the decision out of the judges' hands. The 10th round was the best of the fight, with Wright hitting Taylor with a combination to the head, but Wright answered with body shots and uppercuts late in the round.
+Taylor seemed most comfortable counterpunching, hoping to catch Wright unaware. But Wright was elusive, often sneaking in several punches and slipping away before Taylor could land anything.
+Taylor's left eye was almost shut by the ninth round. Wright hit Taylor with a right hand late in that round, forcing Taylor to spin away.
+The fighters set a torrid pace early, but in Rounds 6 through 8, the action slowed, and they became more cautious, probing for openings.
+Taylor had a strong sixth round, gaining Wright's attention with several body shots. Taylor was the harder puncher, and there were many spirited exchanges when Taylor threw power punches at Wright. Taylor seemed determined to throw body shots, hoping to break Wright down. But many of Taylor's blows deflected off Wright's gloves, as Wright solidified his reputation for being one of the toughest fighters to hit cleanly.
+After an uneventful first round, Wright began finding the range with his jab in the second round. Wright's jab is perhaps the best in boxing, and it sets up his game plan. Taylor made the mistake of allowing himself to be backed into a corner, and Wright found the mark with several jabs that knocked Taylor's head back.
+Wright entered the ring in clever attire, wearing a gray business suit, complete with shirt and tie, over his trunks. The largely pro-Taylor crowd booed, but Wright's message was clear.
+For Wright, this was a business trip. But Taylor was still the champion when the night ended.
+BOXING"
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+More than an hour after the United States Figure Skating Championships were over, only Sasha Cohen knew her fate.
+As the national champion, she was given an automatic berth to the Olympic team going to Turin, Italy, next month. But as second- and third-place finishers here, Kimmie Meissner and Emily Hughes, both 16, were on the cusp. They had a daunting obstacle in front of them: the nine-time national champion and two-time Olympian Michelle Kwan.
+Kwan, who skipped the nationals because of a groin injury, petitioned to receive a medical bye onto the Olympic team. And after a long wait that ended early Sunday morning, Kwan was given her chance to finally win that elusive Olympic gold medal.
+Along with Cohen, the United States Figure Skating Association named Kwan and Meissner to the three-women Olympic team. It also named Hughes the first alternate, and Katy Taylor, who was fourth at nationals, the second alternate.
+'With all my heart, I wish I was in St. Louis competing, so it was really disappointing to sit home and watch,' Kwan said in a teleconference early Sunday morning. She added that she had received criticism about her decision to try to make the team, but support from her friends, fans and family helped her stay positive.
+'I'm very happy that U.S. Figure Skating has approved my petition, at the same time I know how Emily must be feeling because I was in a similar situation in 1994,' she said.
+In 1994, Kwan finished second at nationals, but was named an alternate to the Olympic team when an injured Nancy Kerrigan petitioned to make the Olympic team. Now her position has flip-flopped.
+A United States Figure Skating international committee met after the conclusion of the women's free skate, disappearing into a room not far from the ice. They voted, 20-to-3, to place Kwan on the team, though she has competed in only one major competition in the past year; she finished fourth at last year's worlds.
+Kwan said that she was confident she would be well enough to compete in Turin. Still, Bob Horen, chairman of the governing body's international committee, said a five-person team would be sent to monitor Kwan before Jan. 27, to see whether she was well enough to skate at the Olympics. He said the group would check to see if Kwan could do 'full run-throughs of her short and long program at competition level.' If so, she goes to Turin.
+'The committee felt that Michelle probably would have had a better chance to win a medal,' Horen said of the committee's decision to choose Kwan over Hughes.
+Kwan said that she would pull herself off the team if she felt that she could not be ready to compete in the Olympics, but that she felt as if she would be ready for the challenge.
+'Nothing is stopping me right now,' she said. 'I feel like I could go into full training.'
+Cohen, who finished second to Kwan four times at nationals, will have to face her nemesis again at the Olympics. But on Saturday, at least, the night was hers.
+She stood at center ice here at the Savvis Center after skating her long program, her wispy body in a wispy gold outfit, and she clutched her tiny fists to her tiny chest. She stared into the crowd and soaked up the standing ovation.
+'Every year, I've always left nationals a bit disappointed,' she said. 'You're not always going to win, but it's just nice when it happens sometimes.'
+Cohen, 21, said she had 'a lot of silvers in shoe boxes and in a lot of storage units all over the place.'
+But she ran away with the gold medal this year. Skating to romantic music titled, 'Romeo and Juliet,' she scored 199.18, more than 28 points ahead of Meissner (171.04).
+Hughes, the younger sister of Sarah Hughes, the 2002 Olympic gold medalist, was third with a score of 165.72. Beatrisa Liang, 17, fell from third to fifth after falling several times during her program and scored 151.41.
+Meissner climbed to second from a fourth-place finish in the short program. She completed seven triple jumps, and later said she was thrilled to be on the cusp of making it to the Olympics.
+'It's just crazy because I've been dreaming about this a very long time,' Meissner said between giggles. 'I just feel like, 'Is it even real?' It's just awesome.'
+Hughes was subdued at the post-event news conference before she found out she would not be on the Olympic team. She went into the long program in second, but fell on a triple loop and popped a triple Salchow to end up third. She said that she relished the experience to win a medal at nationals, and that making the Olympic team would be a perk.
+In third place, though, Hughes was the odd woman out.
+Cohen was the only woman, even an hour after the finals ended, who knew she was going to Turin. Sitting with the other medal winners, she said: 'It would be nice for them to go since they've earned their spots.'
+After Kwan was named, Cohen said the committee made the right decision because Kwan would be one of the top skaters in Turin.
+The United States Figure Skating Association has until Monday to give the United States Olympic Committee a list of its three female single skaters. In turn, U.S.O.C. has until Jan. 30 to hand over its list of athletes to the Turin organizing committee.
+OLYMPICS"
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+LEAD: Responding to an airlift of United States forces to Saudi Arabia and the international embargo that has stilled the flow of his country's oil, President Saddam Hussein of Iraq today defiantly announced his outright annexation of Kuwait, the tiny state his army overran six days ago.
+Responding to an airlift of United States forces to Saudi Arabia and the international embargo that has stilled the flow of his country's oil, President Saddam Hussein of Iraq today defiantly announced his outright annexation of Kuwait, the tiny state his army overran six days ago.
+The announcement of the 'comprehensive and eternal merger' of Iraq and Kuwait came as other Arab leaders scrambled for appropriate responses to the annexation and the arrival of American troops.
+'Thank God that we are now one people, one state that will be the pride of the Arabs,' President Hussein said in brief televised remarks at a meeting of the Iraqi leadership.
+Martial Music and Slogans
+Throughout the day, Baghdad television resounded with martial music reminiscent of broadcasts in the early days of the Persian Gulf war. Announcers proclaimed that Iraq and Kuwait shared 'one nation, one fate.'
+In a speech here, President Hosni Mubarak of Egypt appealed for a face-saving 'Arab umbrella' to defuse the crisis and to avert outside intervention, calling for an emergency Arab summit meeting within 24 hours.
+Mr. Mubarak said Egyptian troops were not joining the force sent by the United States to guard Saudi Arabia. He said they would join a proposed Arab peacekeeping force that he said could be placed in Kuwait while negotiations began.
+'I see a very black picture,' Mr. Mubarak said. 'If we don't move, things will be imposed on us. Why? God gave us brains. It would be more honorable not to have things imposed on us.'
+Qaddafi Arrives in Cairo
+Saudi Arabia, Syria, Algeria and Yemen immediately endorsed the call for a meeting, and Col. Muammar al-Qaddafi, the Libyan leader, arrived in the evening, ready to take part. A spokesman for the Egyptian President said the meeting would begin on Thursday evening and that nearly all the Arab leaders would attend.
+But it was unclear what the leaders might accomplish, particularly if Iraq continues to press its own defiant course.
+One possibility, an Egyptian official familiar with Mr. Mubarak's thinking said, would be to form a joint Arab force that would station itself in front of the Iraqi lines. Should Iraq press forward into Saudi Arabia, the Arab force would serve as a kind of 'trip wire,' he said, and justify a bigger response that would include the participation of the United States.
+As the unease among Arab leaders over the takeover of an Arab country by another mingled with nervousness over the massing of foreign troops, King Hussein of Jordan also rejected the annexation of Kuwait.
+'We continue to recognize the Emiri regime in Kuwait and the system of government there,' the King, who has recently been Iraq's closest ally, said tonight at a news conference in Amman. 'We have not altered our position.'
+The Jordanian monarch also said he planned to attend the emergency meeting on Thursday.
+The announcement of Kuwait's annexation, issued in the name of Iraq's ruling Revolutionary Command Council, appeared to pose a direct challenge to the United States.
+'We will fight your criminal force,' the statement said, referring to the American-led military buildup in the gulf. 'The blood of our martyrs will burn you.'
+'All the fleets, planes in the world, whether inside or outside the Arab homeland, will not shake the palm fronds,' it added.
+'The Revolutionary Command Council had decided to return the part and branch, Kuwait, to the whole and the Iraq of its origins,' the announcement said. 'Fellow citizens, history has proved that Kuwait is part of Iraq.'
+Historical Claims
+The historical assertion seemed somewhat tenuous, resting mainly on the fact that during the reign of the Ottoman Empire, Kuwait was part of a province governed from Basra, in what is now Iraq.
+In 1899 the Emir, Mubarak the Great, signed a treaty with Britain making Kuwait a protectorate. After independence in 1961, Iraq tried to take over Kuwait, but was blocked by British troops.
+The announcement of the annexation followed what was described as an appeal for a merger by the new nine-member provisional government in Kuwait, believed to be composed of Iraqi military officers.
+There was wild shooting in the air in Baghdad to celebrate the merger announcement. People danced in the streets and splashed water from fountains on one another.
+CONFRONTATION IN THE GULF: U.S. MAY SEND SAUDIS A FORCE OF 50,000"
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+Fierce fighting has broken out in this Balkan nation, which until now has escaped the ethnic carnage of Kosovo to the north.
+Today, for the third day, police forces fired for several hours at ethnic Albanian rebels taking cover in the hills above the city. The insurgents are trying to claim parts of Macedonia that are overwhelmingly Albanian, and the population is quickly dividing between Slavs and Albanians, just as in Kosovo.
+One Macedonian Slav in town said today of the rebels: 'The only solution is for them to lay down their arms, or we will have to kill them all. It's the only way.'
+German troops, stationed here as a backup for a NATO-led peacekeeping mission at a base guarded by Macedonians, came under attack today from the rebels, perhaps inadvertently.
+These early stages of war are causing alarm in the West, though so far the allies show no intention to intervene. The NATO secretary general, Lord Robertson, said the alliance would not allow 'a small number of extremists' to destabilize Macedonia. But on a visit to Athens, he said NATO, which devoted immense resources to defending the Albanians in Kosovo against Serbs,  had no military mandate to move into Macedonia and did not believe that the government wanted it to.
+In Washington, Richard Boucher, the State Department spokesman, made similar comments, saying, 'We are indeed very concerned about the extremist violence in Macedonia,' but added, 'There has at this point not been any kind of decision to move troops from Bosnia to Kosovo or in any way across the border.'
+He said a senior American diplomat, James Pardew, met with Macedonian leaders this week to 'express our strong support for the Macedonian government and its response to these provocations.'
+Anxiety was also expressed at the United Nations. Ruud Lubbers, chief of the United Nations refugee agency, said, 'We simply cannot afford another humanitarian tragedy in the Balkans.'
+And Carl Bildt, the United Nations envoy for the Balkans, said he was reminded of the spiral of events that led to the wars in Bosnia and Kosovo. 'I am very alarmed,' he said in London at a seminar at the International Institute for Strategic Studies. 'This is one of the worst pieces of news to come out of the Balkans for many years.' If the conflict takes root, it could upset Greece, Bulgaria, Albania and Yugoslavia. Mr. Bildt arrived today in Skopje, the Macedonian capital, to express support for the government. He said of the Albanian separatists: 'You cannot talk of politics with weapons in your hands. That is not what democracy is.'
+Despite the expressions of support, little practical help is being offered to the Macedonian government, which is taking more forceful measures against the rebels both in the north, near Kosovo, and west, near Albania.
+With the fighting at the fringes of Tetovo, the nation's second largest city, just 25 miles from the capital, the government held crisis meetings all day, and Parliament called a closed session to consider forming a government of national unity and imposing a state of emergency on the Tetovo region.
+The main opposition parties were in negotiations to form a government together with the ruling coalition, uniting Slavs and moderate Albanians. The aim is to unite all political parties in Macedonia, a fragile nation that broke from Yugoslavia a decade ago and since has made progress toward democracy. But a unified government would bring together some strange partners.
+Arben Xhaferi, leader of the Democratic Party of Albanians, said he would leave the government coalition if a state of emergency was declared in Tetovo, where he has his party headquarters.
+As the day wore on, it appeared that neither the government nor the police on the ground in Tetovo had any swift solutions to the insurgency. Mistrust between the two ethnic groups is increasing.
+Macedonian Slavs living in the western quarter of Tetovo, just beneath the wooded hill where rebels have dug in, were demanding tougher action from the government.
+Sitting in the walled courtyard of his cafe-bar, Zivko Gagrovski, 80, had a perfect view of the white television station building 300 yards above where rebel snipers were supposed to have lodged.
+'The police are trying to push them off the ridge, but they keep coming back,' he said. 'They need to bring in helicopters to finish them off. The government has to do something, whether they bring in a state of emergency or whatever else.'
+He dismissed any thought of negotiating with the rebels. 'No chance,' he said. 'These men have deserted their country.'
+Outside, armored vehicles maneuvered down the cobbled street that runs along the base of the hillside between two Orthodox churches, St. Nikola and St. Cyril. Men hugged the doorways and alleys, in the din of mortar and machine gun fire. Just the men remained to guard their properties, residents said. The women and children had been sent away.
+Someone opened fire from a roof of a nearby house, blasting single shots from an automatic weapon into the hills. Later several mortar shells landed in the deserted main square,  the first missiles to land in the city center.
+Mistrust between the mainly Albanian population and the police is increasing, a police officer warned today, speaking on condition of anonymity.
+Tetovo is 80 percent Albanian, yet the police force is 90 percent Macedonian Slav. The police chief, Rauf Ramadani, is an ethnic Albanian, but he has been sidelined in the operation against the rebels, and the talk is that he has been suspended.
+Mr. Ramadani denied the rumors but appeared deeply worried about the situation.
+He called the rebels 'criminals and pseudo-patriots' whose aim was not to penetrate the city, but to stir up tensions among the population. 'The situation is not that bad, but the psychological ripple effect of the rebel action is very bad,' he said.
+'What is very disappointing is that people are leaving town,' he added.
+Other police officers said there was growing mistrust between the Albanian and Macedonian police officers in Tetovo. Slavic policemen  have been accusing the Albanian police of siding with the rebels, although three of the seven policemen wounded Wednesday were Albanian.
+Albanian police officers have said Slavic policemen were responsible for the few civilian injuries in the last few days. A Slavic policeman was reported to have fired at a car carrying four elderly Albanians on the edge of town today, one officer said.
+No one was hurt, but it is the sort of incident that the police chief dreads. 'A single bit of craziness, if reflected in the state institutions, is not a good thing,' Mr. Ramadani said.
+Reflecting the insurgency in Macedonia, the commander of the NATO-led peacekeeping troops in Kosovo, Lt. Gen. Carlo Cabigiosu, said today that he wanted to change the type of peacekeeping forces stationed in Kosovo, since the task is no longer to oppose the Yugoslav Army. Now, he said, it is to contain the Albanian insurgencies outside Kosovo."
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+LEAD: Three nights a week, the President of this Spanish-speaking country retires to a quiet room in the palace, flicks on his tape recorder, and practices his French.
+Three nights a week, the President of this Spanish-speaking country retires to a quiet room in the palace, flicks on his tape recorder, and practices his French.
+'It's coming along - I can talk to my neighboring presidents now,' the President, Obiang Nguema Mbasogo, said as he shifted easily from the lisp of Castilian Spanish to the rich accents of African French.
+As Africa's only Spanish-speaking nation, Equatorial Guinea survived for two centuries as a charming anachronism. It has plazas, palm trees, baroque churches, wooden balconies and shaded arcades.
+Children wave at visitors and cry 'Hola!' Opening its Doors to France
+Soon, some of this may change.
+With a certain anguish, Equatorial Guinea is opening its doors to West Africa's major power - France.
+Today, Equatorial Guinea appears to be the new test of the theory that language follows power.
+French economic penetration of Equatorial Guinea has been swift.
+The watershed year was 1979, the year the current president overthrew his uncle, Francisco Macias Nguema, in a coup. Mr. Nguema, widely recognized as a paranoid despot, destroyed his nation's economy by expelling almost the entire Spanish population of 7,000 and killing or forcing into exile about one-third of the African population. The population is now 300,000.
+Rebuffed by Spain, the new President turned to France.
+Under French guidance, Equatorial Guinea changed its currency, and in 1985, became the first non-French-speaking member of the 13-country African-franc monetary zone. French Investment Poured in
+To smooth the transition, French advisers were posted in the Finance Ministry. Last year, a subsidiary of a French bank opened two agencies here and in Malabo. With the collapse of a Spanish-Guinean bank, the French now offer the only banking.
+Once the financial groundwork was in place, French aid and investment started pouring in.
+French companies now run the national airline, manage the airports, distribute gasoline and are renovating the two major hotels.
+Last month, a French company opened Equatorial Guinea's first international satellite telex and telephone connection. The previous link was an erratic radio-telephone line to Madrid.
+Last week, President Obiang Nguema laid the cornerstone for a French-financed and French-built hydroelectric plant - the first for the island half of this geographically divided nation. On the continental half, a French company is restoring a Chinese-built power plant.
+For security, the president relies on a 500-man palace guard of French-speaking Moroccan soldiers.
+Language lessons followed closely on the heels of economic penetration. French-Language Entertainment
+To further integrate Equatorial Guinea with the economies of its French-speaking neighbors, President Obiang Nguema decreed last year that by 1992 all Government forms would be bilingual in Spanish and French.
+In radio addresses, he also issued 'strong recommendations' that citizens follow his example and become bilingual in Spanish and French.
+Last year, responding to the call, France opened Malabo's most modern building, the Institute of French Cultural Expression.
+In addition to teaching French, the Malabo center offers nightly French-language entertainment.
+At the center's reading room recently, Lucas Nsue Oyono paused from flipping through a French-language African sports magazine and explained why he wanted to learn French. Shifting Linguistic Tides
+'There are a lot of French companies coming here, if you can speak French you can get along better with the boss,' he said, in Spanish.
+French as a second language is mandatory for all high school students, and a French aid program is training French language teachers here.
+'We are not here for cultural imperialism - it is history that has separated Equatorial Guinea from their African brothers,' one French aid worker said enthusiastically.
+Spanish diplomats in Malabo were reluctant to comment on the shifting linguistic tides. Lure of France Burns Brighter
+'The Spanish are losing face, and they hate it,' a British resident said.
+Meanwhile the lure of France burns ever brighter.
+President Obiang Nguema attended military school in Spain. But today he sends his son to school in Paris. He recently bought a house in Paris and last year his wife gave birth to twins in a Parisian hospital."
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+LEAD: John Long, Aleksandr Volkov and Kevin Willis scored 3 points each in a 9-0 run early in the fourth quarter, which lifted the Atlanta Hawks to a 105-96 victory over the Nets tonight.
+John Long, Aleksandr Volkov and Kevin Willis scored 3 points each in a 9-0 run early in the fourth quarter, which lifted the Atlanta Hawks to a 105-96 victory over the Nets tonight.
+The Nets, dropping their fifth consecutive game, led by 84-80 before a layup by Long started the rally with 11 minutes 24 seconds to play. Long hit a free throw just under a minute later and Volkov converted a 3-point play with 10:01 to go.
+Willis followed with another 3-point play to give Atlanta an 89-84 lead with 9:26 remaining. New Jersey got no closer than 3 the rest of the way.
+Long was playing his first game for the Hawks after signing a 10-day contract.
+Moses Malone, who hit all 12 of his free throws, led the Hawks with 26 points and 12 rebounds. Dominique Wilkins added 22 points and Willis had 11 points and 13 rebounds.
+Chris Morris scored 19 points and had 10 rebounds for the Nets.
+The Nets built a 23-12 lead in the first seven minutes of the game and did not trail until Wilkins's layup gave the Hawks a 42-41 lead with five minutes left in the half.
+Atlanta's biggest lead in the first three quarters was 68-66 midway through the third period, but the Nets took an 82-75 lead with 1:46 left in the period before the Hawks came back.
+Celtics 102, Bullets 88
+LANDOVER, Md. (AP) - Robert Parish made up for the absence of the injured Larry Bird with 29 points and 13 rebounds.
+Reggie Lewis, who started in place of Bird, had 21 points for the Celtics, who snapped a losing streak at five games at the Capital Centre dating to Dec. 15, 1987.
+With Bird at home resting a sprained left ankle, the Boston offense revolved around Parish, who was repeatedly able to establish position in the low post. Parish was 12 for 15 from the field despite frequent double-teaming.
+Washington, which has lost seven of its last eight games, was led by Jeff Malone with 33 points.
+Hornets 117, Pacers 111
+CHARLOTTE, N.C. (AP) - Dell Curry hit two late baskets for Charlotte, including a 22-footer with one second on the shot clock and 1:03 remaining in the game.
+The victory was the first this season by the Hornets against a team with a winning record. It left Coach Dick Versace of Indiana venting the frustration of four consecutive losses at Referee Hank Armstrong. Versace went after Armstrong at the end and had to be restrained by LaSalle Thompson.
+Curry scored 17 of his 21 points in the second half. Armon Gilliam had a season-high 28 points and Rex Chapman added 27 for Charlotte, which won for the third time in four games.
+Charlotte scored 24 points on 16 Indiana turnovers and committed only 7 of its own, leading to 6 Indiana points.
+Cavaliers 123, Magic 112
+ORLANDO, Fla. (AP) - Chucky Brown, a rookie, scored a season-high 30 points and Steve Kerr scored all of his career-high 19 in the fourth quarter for Cleveland.
+Brown, a second-round pick from North Carolina State, hit 12 of 17 shots to finish nearly 24 points over his average.
+Kerr's previous career high was 15 points and he beat that by hitting five 3-pointers and four free throws in the fourth period. He was 12 points over his average.
+Orlando, losers of 16 of its last 18 games, led by 86-82 heading into the fourth quarter, but Kerr got Cleveland off to a fast start by hitting two 3-pointers in the first minute.
+The Cavaliers outscored the Magic by 41-26 in the final period.
+PRO BASKETBALL"
+False,False,True,False,False,False,True,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Bickering Is Fraying The Ties That Bind
+The Mets promoted the notion yesterday that a full day of meetings on Monday had extinguished the infighting that developed as players were quoted over the weekend criticizing teammates, particularly Timo Perez.
+Armando Benitez yelled across the clubhouse Monday, asking which players had spoken about Perez without identifying themselves.
+Manager Bobby Valentine met with several players individually and with Perez, Edgardo Alfonzo and the team captain, John Franco, in his office before that night's game.
+And Lenny Harris and Darryl Hamilton acknowledged addressing teammates to remind them to confront each other individually, not in unattributed quotes to the news media.
+Hamilton also spoke in the middle of the clubhouse before Monday's game, although there there was no team meeting. Franco said he did not call for a players-only meeting because he knew no one would admit to being the player who had leaked the team discord.
+But some of the anger had not dissipated last night. Hamilton said anonymous quotes were 'more damaging to the ball club than losing. '
+'You still want to believe in the guys in the clubhouse and the locker next to you,' he said.
+Harris said keeping problems internal was 'common sense.'
+Hamilton said of the situation: 'We don't need that right now because we're starting to get things going a bit, starting to feel halfway decent about ourselves.'
+Perez conceded that the meeting with Alfonzo, the elder statesman among Latin-American players in the clubhouse, Franco and Valentine had eased his mind, and he played a strong game offensively and defensively Monday night. Perez batted leadoff and was 0 for 3 last night.
+Players who asked not to be identified were quoted as criticizing the perceived indifferent attitude of Perez, and Valentine suggested that the perception might have been addressed earlier if not for the language barrier.
+English is the third language for Perez, a 24-year-old native of the Dominican Republic who played professionally in Japan and spoke Japanese yesterday with Tsuyoshi Shinjo's interpreter.
+Valentine even blamed himself for one criticism. Perez arrived at early batting practice 15 minutes late one day, angering veterans, but Valentine acknowledged that Perez had never been told the team rule that early hitting must be done on time for nonregular players.
+'We tried telling him these things happen when the team's not playing well,' Franco said of the meeting. 'And if he ever has a problem or doesn't understand anything because he hasn't learned yet how to speak English, talk to Fonzie or me or Bobby and we'll handle it. But right now, it's a dead issue.'
+Franco, who picked up a rare save last night, said he did not know who the source of the quotations was. Hamilton was not sure he wanted to know. 'It might be worse if we do find out who did it because maybe now who said it realizes it was the wrong thing to do,' Hamilton said.
+Valentine said Perez's situation was not unique, that Jay Payton, Benny Agbayani and Rey Ordóñez had gone through similar growing pains. Payton and Hamilton nearly engaged in a fist fight last season, Valentine said, and Hamilton confirmed it.
+Hamilton said he was trying to help Payton mature now, something he remembers veterans Jeffrey Leonard and Dave Parker doing for him on the Milwaukee Brewers.
+Franco had his ideas about the problem. 'A lot of guys see a young player come up who hasn't earned his stripes,' he said of Perez. 'Maybe he's doing something that's annoying and we can tell him to do it differently.'
+Shinjo Still Out
+Tsuyoshi Shinjo (strained left quadriceps) remained out of the lineup last night and the Mets did not know when he would play again. But in a meeting with Manager Bobby Valentine and Steve Phillips, Shinjo essentially offered to go on the disabled list if it would help the team.
+'He always puts the team first and wants what's best for the team,' Phillips said. 'Whatever the team needs, he's willing to abide by.'
+Phillips did not know if such a move would be necessary. Asked if he expected Shinjo to go on the disabled list, Valentine said, 'Not today, I don't anticipate that, but if he doesn't show any improvement, that could happen.'
+BASEBALL: METS NOTEBOOK"
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+WHEN I WAS COOL  My Life at the Jack Kerouac School  By Sam Kashner  Illustrated. 318 pages. HarperCollins. $25.95.
+Sam Kashner of Merrick, N.Y., quoted abundantly from the Ramones when he filled out his application for higher education (and seldom has that term been more accurate). This led to his acceptance at the Jack Kerouac School of Disembodied Poetics in Boulder, Colo., and to a postcard from one of his Beat idols. It read, in part: 'I look forward to meeting you. I hope you can type. Sincerely yours, A. Ginsberg.'
+The typing would turn out to be crucial. By the time the 19-year-old Mr. Kashner arrived in the midst of the Beat pantheon in the spring of 1976, his heroes were 'not quite ready for assisted living, but famous enough to need assistants.' They included William S. Burroughs, nicknamed 'the Ol' Poisoner' by Gregory Corso, who himself was fond of exclaiming 'Penguin dust!,' along with Ginsberg, who was more or less in charge.
+'You're a sweet boy,' Mr. Kashner recalls Ginsberg's telling him. 'So unborn.'
+In this company he would not stay unborn for long. Mr. Kashner's well-named memoir, 'When I Was Cool,' recounts an uproarious string of character-building geriatric-Beat episodes that left their mark upon him. Burroughs, whose famous voice emerges irresistibly ('We should scram, Salmonella Sam'), contemplated a Martian invasion of the Midwest and taught a course about imaginary maps. He also enlisted Mr. Kashner to look out for Billy Burroughs, the great old reprobate's hard-drinking 30-ish son, whose diet leaned heavily on Lucky Charms cereal because the marshmallows were easy to chew.
+Corso liked to threaten, extort and kidnap Mr. Kashner, although he is described here with the utmost affection. ('We're just old men,' Mr. Kashner recalls him saying. 'Soon to poof into the air.') As for Ginsberg, he apparently turned an interested eye upon this nice young helpmate he had recruited. 'I spent a lot of time in front of the mirror before going over to Allen's,' Mr. Kashner recalls, 'because I noticed that the better looking you were, the more Allen liked your poems.'
+However naïve he sounds here, Mr. Kashner knew then -- and knows even better now -- that he had stumbled into a chronicler's nirvana. The Kerouac School, a not-yet-accredited offshoot of the first Buddhist college in America, the Naropa Institute (now Naropa University), had recruited him as its very first student. Mr. Kashner's memory has now streamlined that situation and turned himself into virtually the only student, even though others apparently arrived during his two-year tenure. With the help of hindsight, and after countless larger-than-life accounts of Beat exploits, he reanimates the aging renegades and places himself at the center of their attention.
+That may be self-serving, but it's understandable. And it's been a long time coming. In his post-Naropa life Mr. Kashner went into his father's window-shade business, lived in Colonial Williamsburg, published some poetry and became a writer about some of the darker, James Ellroyesque aspects of show business history. He published a novel, 'Sinatraland,' whose main character is a Hoboken window-shade salesman obsessed with Frank Sinatra and the Rat Pack. In retrospect that book looks like a dry run for the candid, poignant, hilarious second-fiddle memoir that has finally emerged.
+'When I Was Cool' can certainly be appreciated strictly for its wall-to-wall anecdotes. There was the time, for instance, that Ginsberg's Buddhist instructor required him to abandon vanity and shave off his beard, and Mr. Kashner, in his role as caretaker/typist/housekeeper, found the beard in a cigar box. There are the Beats' rivalrous dealings with rock stars. ('The goddam Rolling Stones,' Burroughs groused, adding 'You could bring most of them home to Mother.')
+And there are frequent, eye-opening insights of the young acolyte, who at one point realizes that some of the female poetry admirers in his midst are also call girls. 'You must be here on one of those 'born yesterday' scholarships the Jack Kerouac School gives out,' the younger Burroughs told him.
+But 'When I Was Cool' is much more captivating than the standard tales-told-out-of-school reminiscence. And if it does not fully establish Mr. Kashner as the eloquent writer that he wanted to be, it makes up in self-knowledge what it lacks in flair. Mr. Kashner now freely acknowledges trading on the kinds of unrequited crushes that made the Kerouac School go round.
+He admits to feeling like a groupie at times, never more so than when Bob Dylan and the Rolling Thunder Revue came to town. And he acknowledges jealousy and resentment of Anne Waldman, a fellow poet and queen of the Kerouac roost, who disappeared with Mr. Dylan for a couple of days and refused to take off her Rolling Thunder whiteface makeup when she returned. 'She's going to hate this book,' Mr. Kashner writes frankly, 'but then, come to think of it, she never liked my poetry, either.'
+Most memorably Mr. Kashner creates a touching, intimate evocation of the Beat twilight, with Kerouac and Neal Cassady only much-invoked memories and the group's rogue behavior beginning to wear thin. 'They fell in front of a cracked mirror, Sam,' he says that the younger Burroughs told him. 'And they fell in love with that cracked image. They'll just stare at it until they die.'
+This book's principals had died by January 2001, when Mr. Kashner was at last ready to start writing about them. But he has brought forth a bright, resuscitating testament to their collective memory, for reasons best explained by Naropa's hard-partying, eventually scandal-plagued Buddhist leader, Chogyam Trungpa Rinpoche.
+'He said the real reason I had come to the Jack Kerouac School, Mr. Kashner writes, was to be released from my heroes -- to find out the truth about them and be free of them, to be able to live my own life.' But he is mindful of how much they enriched his life. 'When I Was Cool' returns the favor.
+BOOKS OF THE TIMES"
+False,False,False,True,False,False,True,False,False,False,True,True,False,False,False,False,True,True,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,True,False,False,False,True,False,False,False,True,True,False,True,False,False,False,True,False,True,False,False,False,False,True,False,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,True,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Mourners of Fire Victims in India Protest Hospital as Inadequate
+A crowd of some 5,000 mourners for people killed in a fire at a school ceremony here blocked the police today from hauling away bodies for cremation.
+The crowd threatened to tear down a wall of Mandi Dabwali's Civil Hospital, which they said was not equipped well enough, and to burn the bodies where they lay inside.
+The death toll in the fire continued to grow. Authorities said today the confirmed death toll was 538.
+The fire on Saturday spread swiftly through the 30-by-30-foot, tent-like structure made of plywood and polyester, which had a corrugated metal roof and was surrounded by a 10-foot-high brick wall.
+There were only two openings in the wall. One was locked and the other was too small to accommodate the fleeing crowds.
+Many of the dead were mothers and their children, killed by smoke, flames or  a stampede as the frightened audience tried to escape.
+The police were holding Kewal Kishan Dhamija, the owner of the structure, on  suspicion of criminal negligence. Improper wiring at the hall may have caused the blaze, an initial police investigation concluded.
+The Calcutta-based Statesman newspaper said that Mr. Dhamija, whose wife, niece and nephew died in the fire, admitted the shelter was built without proper permits.
+At the protest today, the police kept the crowd under control, and the protesters dispersed after about five hours without carrying out their threats.
+""Is this a way to run a hospital?"" said one protester, Suresh Singh. He said  the hospital had only 10 beds for the town's 50,000 people.
+The protesters blocked the police from taking away 18 bodies, and threatened  to burn the car of a state minister, Jagdish Nehra, who reportedly had said such accidents were common in India.
+""I didn't say such a thing,"" Nehra said later.
+There was no immediate response from the hospital.
+About 250 people were injured in the fire on Saturday. Doctors at the Dabwali hospital sent all but a handful of burn cases to nearby towns.
+The death toll could rise to as high as 600 if the most seriously injured survivors die. In addition, the police said some people took their dead or dying relatives home and some of those deaths have not been tallied.
+Chief Minister Bhajan Lal, the top official of Haryana state, declared three  days of mourning and announced an investigation. Mandi Dabwali is in Haryana, 125 miles northwest of New Delhi.
+Devi Lal, a resident of the town, said today that some people escaped the blaze after a farmer rammed his tractor through the wall.
+Sukhdev Dutt Sharma, 76, said his 9-year-old grandson had the role of a parrot in the program and had just said ""Happy New Year"" when the fire broke out. The boy and eight other members of Mr. Sharma's family were killed.
+""Just about every family has lost someone,"" The police chief, Hari Shankar, said. ""This town has been devastated. Everyone is in mourning.""
+Funeral pyres were smoldering today in a farm field on the edge of town. The  authorities said families were burning hundreds of bodies there after the tragedy overwhelmed the town crematory, which can handle just 20 bodies a day.
+Nearly all the victims were Sikhs or Hindus, whose religious traditions require cremation. The authorities said the few Muslims who died were buried in  local cemeteries.
+The state Government announced it would pay families of the dead the equivalent of about $2,500 each, and survivors would get about $1,500."
+False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,True,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Piniella Is No. 1 Choice for Blue Jays' Job
+LEAD: The Toronto Blue Jays will offer Lou Piniella their managing job, if they receive permission from George Steinbrenner to do so.
+The Toronto Blue Jays will offer Lou Piniella their managing job, if they receive permission from George Steinbrenner to do so.
+Pat Gillick, the Blue Jays' general manager, spoke with Steinbrenner yesterday and told the Yankees' owner he was prepared to offer Piniella the job, a source with the Yankees said.
+Gillick and Steinbrenner acknowledged speaking, but were not that specific in discussing their conversation.
+'Gillick has asked if he could continue the talks with Piniella,' Steinbrenner said by telephone from Tampa, Fla. 'I talked to Lou and got Lou's feeling, and I have to talk to my baseball people to get their feelings. I told Gillick I would get back to him.' Discussion of Philosophy
+The Blue Jays dismissed Jimy Williams as their manager 12 days ago. Cito Gaston, the team's hitting coach, is serving as the interim manager, but Gillick has said Gaston has virtually no chance of being appointed manager permanently. Piniella has been the Blue Jays' No. 1 choice almost from the time they dismissed Williams.
+Piniella flew to Toronto from Seattle on Monday and, with Steinbrenner's initial permission, met with half a dozen Toronto executives that morning. They primarily discussed managerial philosophy.
+The Blue Jays have needed Steinbrenner's permission because Piniella is in the first year of a three-year, $1.2 million contract with the Yankees. He received that deal when he returned to manage the team last season. Question of Compensation
+Piniella has said he likes the idea of managing again, but even if the Blue Jays get permission to make an offer to him, they would have to make the offer sufficiently lucrative to induce him to give up the Yankees' contract.
+If Steinbrenner were to allow Piniella to go to Toronto, a decision some people in the Yankee organization don't believe he will make, he would want compensation from Toronto.
+Asked about compensation, Gillick, mindful that Piniella is doing cable television work with the Yankees, said with a chuckle, 'I suppose we'd have to send him a broadcaster.'  BASEBALL"
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+A change in strategy by Coach Bora Milutinovic helped produce three goals for the MetroStars tonight, after they had gone without a goal in their previous three games at Giants Stadium.
+Milutinovic moved Mark Chung wide on the left side of the attack and Chung scored the first goal to end a home scoreless drought of 316 minutes. Chung also assisted on the other goals, by Billy Walsh and Mark Semioli, to delight the crowd of 14,859 as the MetroStars beat the Miami Fusion, 3-2.
+'Chung is a good player,' Milutinovic said. 'I'm happy we scored three goals, but we have to work hard not to receive two goals.' After the MetroStars took a 3-0 lead, Miami received goals from Jay Heaps and Diego Serna while playing a man short.
+Chung's goal in the 36th minute was the first at Giants Stadium for the MetroStars since Mike Petke's goal with 10 minutes left in the season opener. It came from close range in front, after a low cross by Roy Myers on the left went through the hands of Jeff Cassar, Miami's goalkeeper.
+With the diminutive Chung patrolling the left side of the attack, the MetroStars were dangerous every time he had possession. Chung played with enthusiasm and was very mobile, moving from side to side and entering the penalty area with speed.
+Chung created the second goal when his pin-point free kick from the left side found Walsh 6 yards from the goal. Walsh capitalized with a header for his first goal of the season, just three minutes after intermission.
+Three minutes later, Chung started another attack on the left side and waited for Semioli to get into position before he relayed him the ball for the shot, which ricocheted off the right post.
+'This is the first time I played strictly on attack,' Chung said. 'When you don't have to retreat to center midfield, it makes it easier to pay more attention to offense.'
+The MetroStars had trouble with their transition from defense to attack in the first half, but things improved in the second, thanks primarily to Chung's energy and intelligence on the left side.
+'A three-goal lead was a luxury we never had before,' Walsh said, 'but we have to look at the films to see what happened after that. They got two goals on us and that's something we have to correct.'
+Miami's two goals, by Heaps in the 58th minute and Serna in the 75th, came while the Fusion was playing a man short because Henry Gutierrez was ejected for hitting Myers in the 19th minute. Miami played with nine men for the last 12 minutes because of an injury to Wade Webber after it had made its three substitutions.
+The game also served as a qualifier for the United States Open Cup. 'The game had a double meaning for us and I'm happy we came through,' said Semioli, the captain of the MetroStars, who made a game-saving play in the closing minutes by clearing on the line with goalkeeper Mike Ammann out of position.
+SOCCER"
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+LEAD: Terry Leach spends his afternoons at his locker, reading the bible, drawing instruction and strength from the scriptures. Then, he almost invariably adjourns to the bullpen, where he spends his evenings reading the writing on the wall. The message generally is deciphered to this: No work likely tonight.
+Terry Leach spends his afternoons at his locker, reading the bible, drawing instruction and strength from the scriptures. Then, he almost invariably adjourns to the bullpen, where he spends his evenings reading the writing on the wall. The message generally is deciphered to this: No work likely tonight. From this, he tries to draw no conclusions too despairing.
+'You can't worry about these things,' said Leach, the right-handed reliever who has been left out of matters for much of this season. 'It has, though, been getting lonely lately.'
+Sunday afternoon, Leach had to get ready in a hurry, and the company he discovered himself in was that nasty group of characters that populate an active reliever's existence: base-runners.
+'It got pretty crazy for a second,' said Leach. 'I couldn't find my hat, couldn't find my glove.' Effective Again
+Impressively, though, he found his stuff once he hit the mound, only the third time in nearly a month that he had been out there. Leach efficiently eliminated the base-runners in the fifth inning and worked a harmless sixth. Dave Johnson, the manager of the Mets, removed him in the seventh with a runner on first, a steal of second likely and the count 2-1 to the second baseman Robby Thompson. Roger McDowell came on and ran the more important count on the scoreboard to 10-5 in favor of the Giants, who went on to a 10-6 triumph.
+McDowell was charged with the defeat that left the Mets with a 4-5 record at the end of their nine-game homestand. Leach, meanwhile, was charged with his second earned run this season and had the rest of the afternoon to brood about it. Instead, he was grateful for the work, respectful of his manager's decision and happy with his performance.
+'I was a lot sharper than I thought I would be,' said Leach, the 35-year-old veteran. 'I just wanted basically to throw strikes until I got my touch back. I didn't go after anyone. Just tried to get them out.' Unusual Letdown by Bullpen
+That the bullpen ultimately struck out so abysmally Sunday was a rarity this season. The eclectic group, complete with the unhappy but untouchable Rick Aguilera and the wildly willful Randy Myers, began the game with an e.r.a. of 1.28, having allowed 14 runs in nearly 100 innings. In fact, they had surrendered only five runs in the last 23 games. Including Sunday's disaster, they have lost only 2 of 15 chances at saves.
+'I feel more comfortable with my bullpen than any year I've been here,' said Johnson. 'Before, I'd always had at least one guy who might be affected by what they are asked to do.'
+Indeed, despite the fact that working in the bullpen is the last thing Aguilera wants to do, he has been completely unaffected by his displeasure and thus almost unscored upon in his role. With the one inning he worked Sunday, the former starter has now worked 21 straight innings without permitting an earned run. Stock Rising
+There is no indication that Aguilera will be promoted to the rotation, but his brilliance has gone a long way toward achieving one thing the organization wanted to see happen. His trade stock has risen with every batter he's retired. If he is traded, there is bound to be more coming back in return.
+'I'm not happy with the role, but I can enjoy the way I'm throwing,' said Aguilera. 'I'm happy when I get the ball, and I'll go from there.'
+The Mets left yesterday for California and nine games with some serious and additional psychological baggage. In dropping their first extended homestand in more than two years, they scored only 22 earned runs in the nine games and stranded 74 base-runners. They hit .175 as a team with runners in scoring position.
+'The pitching's going to be O.K., but I'd sure like to see us put some runs on the board,' said Mookie Wilson, who drove in a run Sunday with his first hit in 11 times at bat. 'It's going to be a tough road trip.'
+It's a trip that last year saw the Mets snap out of a similar drought with the bats, one keyed by Wilson."
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+If it sometimes seems that Australian movie stars are more quintessentially American on the screen than many home-grown actors, the same might be said of the Australian singer David Campbell's approach to American popular song. In 'Back From Oz,' his new show at the Cafe Carlyle, this 28-year-old singer from Adelaide pays tribute to Bobby Darin (with a medley of his hits) and Sammy Davis Jr. ('Mr. Bojangles'). He rounds out his performance with a happy-go-lucky 'Alexander's Ragtime Band.'
+Onstage Mr. Campbell radiates the kind of ingenuous, optimistic wholesomeness associated with a bygone ideal of the all-American boy, and his look recalls the smoothed-out Elvis iconography of early-60's teenage idols.
+A natural entertainer (his father, Jimmy Barnes, is an Australian rock star who has been compared to Bruce Springsteen), Mr. Campbell dispenses a bluff, easygoing charm that never turns cloying or manipulative. It allows him to put over inspirational songs like Carol Hall's 'Do You Know What I Mean' and John Bucchino's 'Taking the Wheel' that a single drop of cynicism would have contaminated.
+What Mr. Campbell doesn't do is put on an American accent or try to disguise his roots. His voice suggests an earthier hybrid of Johnny Mathis and Peter Allen inflected with a tart Australian twang. The show, which runs through March 23 at the Carlyle Hotel (35 East 76th Street, Manhattan), is an upbeat cultural dialogue that mixes mostly well-known American standards with lesser-known Australian pop songs. Accompanied on piano and bass by Christopher Denny and Jered Egan, Mr. Campbell also occasionally picks up a guitar.
+The most revealing number is the Darin tribute because, as Mr. Campbell acknowledges, his forerunner blithely 'jumped styles' the same way he does.
+And as Mr. Campbell navigates from rock ('Dream Lover,' 'Splish Splash'), to swing ('Beyond the Sea,' 'Mack the Knife') to folk ('If I Were a Carpenter'), he delivers everything except for Darin's furious competitive drive to be Mr. Show Business.
+CABARET REVIEW"
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+With a choir singing 'Ode to Joy' as the prelude, nearly a century of American power and presence along the shores of the Panama Canal symbolically ended today when former President Jimmy Carter exchanged diplomatic notes with President Mireya Moscoso and said simply, 'It's yours.'
+Those two words spoken at the subdued celebration ushered in a new era in Panamanian life, a journey that began in 1977 when President Carter and Gen. Omar Torrijos signed two treaties to give Panama full sovereignty and responsibility for the canal and to give the two countries joint responsibility for guaranteeing its neutrality.
+President Moscoso pledged to meet the challenges that came with the treaties, which she praised during the midday ceremony as a model for resolving conflicts.
+'To the entire world I would like to say that the completion of the Panama Canal Treaty is proof that mutual understanding between peoples and diplomatic negotiations are the correct avenues for the resolution of conflicts between nations,' she said. 'Anything else only produces pain and destruction.'
+The decades of American presence had been marked with flare-ups, from daily resentment of United States control of the canal and its surrounding land to the nationalistic riots in 1964 in which several students died trying to fly the Panamanian flag in the Canal Zone.
+Those clashes led the Panamanian government to temporarily break off relations with the United States and prompted American officials to begin the process that resulted in the treaties, which officially take effect at noon on Dec. 31.
+Mr. Carter was greeted by applause when he arrived at the ceremony with Ms. Moscoso and several other heads of state riding in one of the gleaming new locomotives that are used to guide boats through the passage.
+Calling the treaties a passage to a new relationship, Mr. Carter offered encouragement to both sides and voiced the hope that cooperation would continue with investment as Panama began to transform the military bases that the United States was giving up into businesses like factories, cargo centers and tourist resorts that would benefit the nation.
+'We want to be part of the development of the canal,' Mr. Carter said.
+Some tensions remain on both sides. Panamanian officials felt slighted by the absence of President Clinton at this singular date in their nation's history of close, if sometimes testy, relations.
+And some United States politicians who never supported the canal's transfer warned that the Panamanian government could endanger the waterway's security through poor management and the awarding of concessions to a Hong Kong port operating company.
+In a speech that blended nationalistic pride with thanks to the late General Torrijos and Mr. Carter -- but not President Clinton -- Ms. Moscoso went out of her way to respond to her nation's critics and reassure the canal's customers.
+She touched on most of the important aspects of the modernization projects that will deepen and widen parts of the route, and she vowed not to rely on canal revenues to finance unrelated projects. Her objective, she said, is to ensure the uninterrupted and safe operation of the canal.
+'I reiterate most strongly,' she said, 'that as of noon, December 31, the responsibility to administer the Panama Canal in a safe and efficient manner will be solely the responsibility of the Republic of Panama and will be accomplished without any interference or interest of any political party.'
+As if to underscore those pledges, the area around the locks at the Pacific entrance to the canal were spruced up with fresh paint and banners that proclaimed 'A Canal for the New Millenium.'
+Dignitaries gingerly walked in single file over the gates to the control tower, where they were given a brief tour of the center where the ships are guided into the canal and through the gates.
+As the audience waited for them to return, two announcers took to the podium and began a kind of scripted exchange of canal factoids that seemed like the color commentary for the Macy's Thanksgiving Day Parade. There were even moments of commercial name-dropping when they discussed the 'mules,' as the locomotives are known.
+'The presidential delegation arrived in one of the new mules constructed by Mitsubishi of Japan,' said one announcer. As the official acts began, a huge carrier slipped into one of the locks, laden with cars. It slowly rose until the towering letters on its side were at eye level with the audience: TOYOTA.
+Those names were probably better known to most Panamanians than were the names of some of the 29 members of the American delegation, which ranged from Commerce Secretary William Daley and David Rockefeller to Representatives Gary Ackerman of Queens and Long Island and Major Owens of Brooklyn, both Democrats. In the days leading up to the ceremony, American officials scrambled to assemble a delegation, a proposition that was fraught with concern for how it would play in the States, especially during the Presidential election campaign, where conservatives still gripe about the handover.
+At the same time, some American officials were miffed by what they saw as a lack of gratitude in Panama. Ms. Moscoso did express her gratitude at least to Mr. Carter, but one of her advisers, Roberto Eisenmann, said that was not the issue. 'I do not think it is a question of 'thank you,' ' he said. 'Our relations with the United States were a love-hate relationship. When you finally solve that, it is difficult to say thank you. Fortunately, we are in a love stage.'
+Recalling that the United States invaded Panama nearly a decade ago to overthrow and arrest Gen. Manuel Antonio Noriega, Mr. Eisenmann said, 'So soon after an invasion, when our national psyche should be affected, 70 percent of the Panamanian people are pro-Yankee. You can only call that love.'
+Still, there were moments of contrast that echoed past relations.
+At the close of the ceremony, a singer performed a somewhat mangled version of 'The Star-Spangled Banner.' Nonetheless, two Americans in ties stood at attention with their hands over their hearts while a nearby Panamanian canal worker in a jumpsuit kept his arms crossed over his chest.
+Soon, the Panamanian anthem was sung, ending in a crescendo of blaring air horns from locomotives and tugboats in the locks. Water sprayed from fire hoses on the boats descended onto the canal like a misty curtain that shrouded the hills as a choir sang the 'Hallelujah' Chorus.
+As the dignitaries went off to a celebratory banquet, Juan Antonio Samudio stood in the sunny plaza dressed in folkloric costume and holding a large Panamanian flag.
+This was the culmination of a personal journey for him: every time the United States handed over a military base, he would walk from his home with his flag and bear witness to the unfolding events. This morning he stood outside the entrance to the locks, barred from entering, he said, until President Moscoso said he should be allowed in.
+'This is important because were are seeing only the Panamanian flag,' he said. 'It will be only our flag that flies over the canal.'"
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+LEAD: Over strong Iranian objections, the Economic and Social Council voted, 22 to 7, today to continue its two-year-old investigation of human-rights violations by Iran.
+Over strong Iranian objections, the Economic and Social Council voted, 22 to 7, today to continue its two-year-old investigation of human-rights violations by Iran.
+The vote came after a campaign by some Moslem countries, including Pakistan, Syria and Oman, to cancel the inquiry. It also came after a report this month by a human-rights group, Amnesty International, that said that Iran followed a 'pattern of cruelty and inhumanity' in its treatment of prisoners, including torture and executions.
+Iraq joined the United States and most Western delegations in supporting the human-rights investigation. The Soviet Union and China did not vote.
+The Council also voted to continue investigations of human-rights violations in Afghanistan, Chile, El Salvador and Guatemala.
+On the Iran issue, an Iranian delegate accused the Council of carrying out 'a politically motivated process under the guise of human rights' and said his Government would not cooperate with the inquiry. U.N. Experts Barred
+For two years, Iran has barred United Nations experts from studying Iranian prisons, on the ground that the experts are not versed in Islamic law.
+According to the Amnesty International report, Iran continues to use such methods as torture, forced amputation and summary execution against political prisoners and criminals.
+In Teheran alone, courts reported 6,400 sentences of physical punishment over the 12 months that ended last March, including 1,100 sentences of flogging for sexual and alcohol offenses, the report says.
+At least eight people were stoned to death, and Iranian authorities have developed an electronic guillotine to carry out amputation sentences, the report says.
+In what the report calls a 'long-term pattern of abuses,' thousands of political prisoners and members of ethnic minorities such as Kurds have been imprisoned indefinitely, tried in secret courts or executed since the 1979 revolution. Religious Executions
+At least 200 people, most of them Bahais, have been executed because of their religion, and thousands have been seized and held hostage for the surrender of relatives and friends wanted by authorities, the report says.
+Iran has refused to allow Amnesty International officials to enter the country since 1979. BRITISH DIPLOMAT RELEASED
+LONDON, May 29 (AP) - Iran released a British diplomat in Teheran today after Britain protested that he was beaten and abducted at gunpoint in front of his wife and children 24 hours earlier.
+The diplomat, Edward Chaplin, was 'as well as could be expected,' the Foreign Office said.
+At the same time, Iran protested what it called the 'illegal arrest' of an Iranian consular official in Britain.
+The Iranian, Ali Qassemi, was charged with shoplifting, reckless driving and resisting officers after his arrest May 9 in Manchester. He was freed on bail Thursday."
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+LEAD: Leaders of the European Community, under pressure from Chancellor Helmut Kohl of West Germany to help speed German unification, agreed today on steps that he requested to reassure the Soviet Union.
+Leaders of the European Community, under pressure from Chancellor Helmut Kohl of West Germany to help speed German unification, agreed today on steps that he requested to reassure the Soviet Union.
+Giving qualified endorsement to the Chancellor's appeal for billions of dollars in aid to help President Mikhail S. Gorbachev transform the Soviet Union from Communism to a market economy, the 12 leaders called for more detailed proposals for short-term credits and long-term economic aid.
+They said they would consider the proposals at another meeting of European leaders expected to be held by October.
+They also decided to propose Nov. 19 for a gathering in Paris of the 35-nation Conference on Security and Cooperation in Europe, a meeting of leaders from East and West that Moscow wanted this year.
+The United States has opposed using economic aid to prop up Soviet reforms. Defense Secretary Dick Cheney said on Monday that substantial economic aid would subsidize the Soviet military.
+Mr. Kohl, announcing the decision today, said negotiations on the terms of German unity would have to be completed before the Paris meeting, a position supported by the United States and other members of the NATO alliance.
+Mr. Kohl, who with the help of President Francois Mitterrand of France was the most insistent backer of the Soviet aid proposal, pronounced himself 'very, very satisfied' at the end of the two-day meeting.
+He made little secret of West Germany's reason for deciding last week to guarantee up to $2.9 billion in German private bank credits to the Soviet Union.
+'In this connection,' he wrote to the President of the European Community's executive commission, Jacques Delors, 'I would urge the Soviet Union, for its part, to adopt a constructive approach to questions arising on the path toward German unity - and this applies in particular to anchoring a future united Germany within the North Atlantic Alliance and the European Community.'
+At a news conference after the meeting today, Mr. Kohl dismissed the idea of a link between his proposal for further aid and the goal of ending Soviet objections to NATO membership for a united Germany. But his spokesman, Hans Klein, said the Chancellor had raised the possibility of Western aid amounting to many billions of dollars with Mr. Gorbachev in Moscow last winter and by telephone several times since. The Soviets had suggested a figure of $15 billion, he said.
+The decision today did not commit the 12 European Community countries to pledging specific amounts.
+But it confronted the United States, Japan and the other industrial democracies who will be meeting in Houston early next month with momentum and a growing European sense of urgency about the need to help Mr. Gorbachev before he and his policies go down in failure. The issue is also likely to come up at the NATO summit in London on July 5 and 6.
+Last July, in an atmosphere of gathering change in Eastern Europe, President Bush and the other leaders made the European Commission their coordinating agent for aid to Poland and Hungary.
+Thatcher's Misgivings
+Part of Mr. Kohl's message to the other European leaders here was that without Mr. Gorbachev and the attraction of a closely integrated European Community, the revolutions in Eastern Europe would not have succeeded last year.
+But Prime Minister Margaret Thatcher of Britain argued forcefully at a dinner in Malahide Castle here on Monday night for careful study of what the Soviet Union needed before any decision to throw money at it.
+'We are very ready to consider financial assistance provided it is clearly linked to economic restructuring so that we know it will actually be effective,' she said today. 'I favor support for economic reform but there has to be reform to support.'
+In their communique today, the leaders 'underlined the interest of the community in the success of the political and economic changes initiated by President Gorbachev.' They asked Mr. Delors's commission to consult with the International Monetary Fund, the World Bank and other international economic institutions and to prepare aid proposals urgently.
+A Symbol of 'No More War'
+Mr. Delors is expected to visit Moscow in mid-July, and he will take with him a Dutch proposal for a European Energy Community including the Soviet Union. The Dutch Prime Minister, Ruud Lubbers, compared the idea to the European Coal and Steel Community created after World War II. He described it to his colleagues here as a symbol and instrument of the principle of 'no more war,' as well as a means of greater European independence from imported oil.
+The European leaders also agreed today to set Dec. 13 and 14 as the opening dates for conferences on greater economic and political union. These could lead to institutional and structural changes bringing community members closer together by 1993, when they have already pledged to create a barrier-free single market of 336 million people.
+The leaders agreed on a sweeping statement of support for more effective protection of the environment, but could not agree on the location of a new European Environment Agency because of French insistence that Strasbourg be declared the permanent site of the European Parliament first. The Irish Prime Minister, Charles J. Haughey, said today that his successor in the six-month presidency of the European Community, Prime Minister Giulio Andreotti of Italy, would have to resolve the impasse by October."
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+'Silver' Actor Joining 'Blue'
+The search is over. With Jimmy Smits to depart the cast of ABC's 'N.Y.P.D. Blue' sometime in the fall, the producers have been auditioning dozens of actors to find the next young, good-looking, brooding partner for Detective Andy Sipowicz, played by Dennis Franz.
+Like David Caruso and Mr. Smits, the winner is young and good-looking. But brooding? Hardly. Rick Schroder is best known for playing Ricky Stratton, the adorable adolescent son who moves in with his childish, divorced father, in the mid-1980's NBC sitcom 'Silver Spoons.'
+But Mr. Schroder, now 28, has been honing his skills in television movie roles, including that of a young cowboy in 'Lonesome Dove,' and, the executive producer Steven Bochco says, he showed great chemistry in reading scenes with Mr. Franz.
+Bill Kurtis, Host
+Bill Kurtis has been in television news a long time and now, at 57, he thinks he has found a dream job. The A&E Arts and Entertainment cable network has scheduled hourlong documentaries every weeknight at 9, starting next Monday, and Mr. Kurtis will oversee and play host to all five nights. The A&E project comes  when networks are devoting more of prime time to news: 'Dateline' on NBC, '20/20' on ABC and '48 Hours' on CBS have gained additional time slots, and the cable networks CNN and Fox News Channel are producing new magazine-style programs, too.
+'I've never seen so much informational programming on the air,' said Mr. Kurtis, who spent 30 years at CBS and has been an independent producer of programs for A&E and PBS since 1991. 'I think it's the golden age of documentaries.'
+The reason, he said, is that 'nonfiction or informational programming is more interesting than what the networks are giving us in their entertainment programming. You get a new plot and new characters each week, but with familiar faces in the reporters and anchors who bring the news to you.'
+The A&E documentary lineup will include two returning programs produced by Mr. Kurtis, 'Investigative Reports' (Mondays) and 'American Justice' (Wednesdays), another returning program called 'The Unexplained' (Thursdays) and two new ones, 'Inside Story' (Tuesdays) and 'L.A. Detectives' (Fridays).
+'Inside Story,' will be a cinema-verite look inside an institution, a profession or an interest group; the first episode, for example, profiles a motorcycle gang from the Bronx. 'L.A. Detectives' will follow actual Los Angeles County Sheriff's Department homicide detectives, at work and at home. 'It won't be cops chasing guys across a backyard,' Mr. Kurtis said, 'It will show them meticulously piecing together of clues, and also show they have a human side, taking care of the kids and going to soccer games and so on.'
+Some traditional documentarians criticize A&E's hour documentaries, including those on the popular 'Biography' series, for being hastily assembled and often superficial. One calls the genre 'docu-lite.'
+Mr. Kurtis candidly acknowledged that to fill five hours a week 'is daunting, and I can't sit here and say every night will be of the same quality or will be Emmy Award-winning material.' But his dream is to produce enough solid and intriguing material to 'lay claim to the time period,' in viewership terms, and then  persuade A&E to let him produce multipart series. He wants to do five nights in a row on five aspects of a single topic, like drug use or Presidential candidates' platforms. 'That would be really new,' he said. 'That's my dream.'
+The Nelson Adventures
+Whatever the shortcomings of A&E's 'Biography' series, last Sunday night's two-hour episode about the classic 1950's sitcom 'The Adventures of Ozzie and Harriet' earned generally high praise from television critics. And yesterday when the Nielsen ratings came out, A&E learned that it had been tremendously popular with viewers, too, as the second most watched program in the network's history. 'Ozzie and Harriet: America's Favorite Family,' produced for A&E by Peter Jones Productions, was watched by an average 3.4 million households, second only to the 3.7 million audience for the Jane Austen drama, 'Pride and Prejudice,' seen in 1996.
+'I think two things contributed,' said Michael Cascio, A&E's senior vice president for programming. 'The Nelsons cover three generations, and the ratings breakdown shows both older and younger people watched. Also, with the movie 'The Truman Show' out, the concept of how television affects people's lives has been in the news a lot. The Nelsons are the original 'Truman Show.' '"
+False,False,False,True,True,False,True,True,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,True,False,False,True,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,False,True,True,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"As Syria's Influence in Lebanon Wanes, Iran Moves In
+Nearly a year ago, not long after the assassination of Rafik Hariri, who was twice prime minister of Lebanon, Syrian troops withdrew from Lebanon, unleashing a wave of patriotism here that prompted many to say that the Lebanese might finally be able to take control of their destiny.
+But the intensity of the moment and the rush of emotions eclipsed at least one important and largely unanswerable question: With Syria gone, or at least its troops gone, who would fill the power vacuum?
+At the time, Iran did not appear to be the answer. But that is what is happening, according to government officials, political leaders and political analysts here.
+Iran, long a powerful player in Lebanon, has been able to increase its influence, partly through its ties to the Lebanese Shiite group Hezbollah. That has given Tehran a stronger hand to play in its confrontation with the United States and Europe over its nuclear program.
+Should the nuclear showdown go badly for Iran, the government could rely on its surrogates in Lebanon as well as its influence in Iraq, or use oil for a weapon. In Lebanon, the Iranians could contribute to the kind of retribution they have promised as a payback, from a strike across the border into Israel, to a more forceful flexing that could paralyze the Lebanese government, political analysts and government officials said.
+While Iran helped create, finance and train Hezbollah, it was Syria that settled scores and managed relations between Shiite factions and Palestinians throughout Lebanon. Syria was a filter between Tehran and Hezbollah, and now that Syria has been uprooted, Iran and Hezbollah can work much more closely.
+Members of Hezbollah have become members of the government for the first time, magnifying the importance of the ties between Iran and the Lebanese Shiite movement.
+That is the downside for the United States, and for Lebanon as well, officials here said. Unity remains elusive as Lebanon continues to be a playing field for foreign interests.
+'There is without any doubt a growing Iranian influence not only in Lebanon but in the whole region,' said Nassib Lahoud, a Maronite Christian who is a former ambassador to the United States and a legislator. 'We are trying to build normal relations with everyone, and we refuse to turn Lebanon into a battlefield for regional and international powers.'
+Political leaders met here recently for what was billed as the start of a national dialogue, a chance to try to resolve long-simmering disputes. There was to be discussion about disarming militias like Hezbollah and figuring out what to do about President Émile Lahoud, a staunch ally of Syria, who has clung to his office even as his ability to govern has withered under pressure to resign.
+But even before the meetings began, government officials conceded that Lebanon's ability to resolve some of its most vexing domestic conflicts would depend on decisions made in Tehran and Washington.
+Charles Rizk, Lebanon's minister of justice, said that as Iran's and Hezbollah's influence grew in Lebanon, the country's hopes for unity hinged on whether Iran and the United States would at least agree to talk to each other. It is an idea, officials here acknowledge, that appears as remote as a Syria-Israel peace deal. But as a nation unusually susceptible to outside influences, officials said, that is Lebanon's reality.
+'I hope that by America inaugurating a process of détente with Iran, this will reverberate into more consensus in Lebanon,' Mr. Rizk said. 'This is the only chance for us to solve our problems.'
+For years, Iran had been a kind of second lieutenant to Syria, important, influential and spiritually linked to the Hezbollah militia in a way that the Alawite leadership of Syria never could have been.
+But with Syrian troops dug in, and Syrian intelligence agents running the show, Tehran's role was often more behind the scenes. In the 1980's, during the Lebanese civil war, Syria established its dominant position when it brokered a deal between the Shiite militias, Amal and Hezbollah, and settled the feuds in the Palestinian camps. After that, Iran found itself one step removed from the surrogates it helped create.
+Then, suddenly, Syria found itself in retreat.
+Iran saw an opportunity and began to press ahead with its established relationships in Lebanon, and with trying to build new ones. Lebanese officials and academics and religious leaders were increasingly feeling the generosity of the Iranian state, officials said, with invitations to conferences in Iran and offers of aid.
+Lebanese officials say that Iran has been careful not to appear heavy-handed, so as not to alienate Sunni, Druse and Christian factions. After years under the fist of Damascus, many people here said that Iranian power was preferable because of geography -- Tehran is far away -- and because the Iranians appeared to be more intent on winning allegiances, not forcing them.
+'Iran is omnipresent in Lebanon, not only with Hezbollah,' said Ridwan al-Sayyid, an adviser to the prime minister and a professor of Islamic studies at Lebanese University. 'They are strong, not like Syria, but they shape their presence in different ways. They are helping many, many organizations -- Sunnis, Shias and Christians. They are benevolent.'
+This is not the first time that the United States has seen Iran benefit, however unintentionally, from events that were initially regarded as strengthening the Bush administration's hand. With each American military strike in the region, first against the Taliban in Afghanistan and then against Saddam Hussein in Iraq, Iran has found its influence in the region grow as its enemies have been defeated by American military might, political analysts said.
+'Iran now has many more cards in confronting the United States than the United States has in confronting Iran,' said Hassan Nafaa, a professor of political science at Cairo University.
+Now it appears that Syria's withdrawal from Lebanon increases the Iranian mullah's influence. A recent political alliance between Hezbollah and Gen. Michel Aoun, leader of the largest Christian bloc in Parliament, was viewed by one political analyst with close ties to the government as a 'tactical victory' for Iran.
+'It's because Syria has been deflated very much, Iran is rising as a force,' Mr. Rizk said.
+Ahmed Fatfat, the acting interior minister, said, 'I believe that Iran's role in Lebanon has become stronger, and if you look at its relationship with Hezbollah it is stronger.'
+What this means, officials said, is that as long as the United States and Iran are at odds Lebanon will remain, at best, in limbo. Lebanon will be unable to resolve its own domestic problems while Iran continues to try to build up its strategic position.
+'If there is an Iranian-American clash, it will be played out here,' Mr. Fatfat said."
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+LEAD: Several nations, including Cuba, have accepted shiploads of Iraqi oil since the United Nations imposed a worldwide ban on trade with Iraq, but those ships left Iraqi pipeline terminals before the sanctions were imposed on Aug. 6, United States officials said today.
+Disclosure Seen as Deterrent
+None of the oil deliveries or the payments appear to violate the United Nations sanctions, which apply only to oil sales or other trade with Iraq conducted after Aug. 6.
+The Bush Administration is citing the oil shipments and efforts to break the trade ban to United Nations diplomats in an effort to underscore American resolve and to deter potential violators by making it clear that illegal trade with Iraq will be detected and revealed.
+United States intelligence agencies have uncovered efforts by private concerns in two dozen nations to smuggle goods to Iraq and have immediately notified the host governments and urged them to take legal action, Administration officials said today.
+One Government official said several of those concerns were 'professional sanctions-busters,' experienced in breaking embargoes against such nations as Rhodesia, that are now seeking to sell their services to President Saddam Hussein of Iraq.
+That official said the companies were based in such locations as Brazil, Eastern Europe, Switzerland, Austria and Britain. They are described as 'fronts' with no real corporate structure, none of them well known internationally.
+None of those Governments were aware of the concerns' secret overtures to Iraq, the official said. He said Eastern European smugglers were proving a particular problem because the region's new democratic governments were ill-equipped to track or thwart illegal deals.
+Some Deals Are Reported
+The Associated Press, citing a State Department document, reported today that Cuba and Romania had struck oil deals with Iraq and that two unnamed companies in Western Europe had secretly offered to smuggle food into Iraq. The report also said unidentified companies in Eastern Europe, East Asia and Africa had offered to smuggle weapons and other goods as well.
+Romania's Ambassador to the United States, Virgil Constantinescu, today denied the A.P. report and issued a list of his nation's oil purchases since Aug. 5, all from nations other than Iraq.
+Mr. Constantinescu said in a written statement that Iraq had offered to give Romania about one million metric tons of oil to settle past debts but that the offer had been rejected. He also said Romania had canceled two contracts with an American oil company, Chevron Corporation, for 150,000 metric tons of Iraqi oil.
+An Administration official, speaking on condition that he not be named, said that Iraq had discussed oil sales to Romania but that it was uncertain which nation had raised the prospect of a sale.
+Romania, like many Eastern European nations, had conducted a busy trade with Iraq and is suffering economically from the trade embargo.
+Officials said the Cuban oil shipment had been unloaded from the Iraqi-flag oil tanker Amuriyah, which docked in Cuba in the last week of August. Shipping officials said the Amuriyah left the Turkish city of Ceyhan on July 31, two days before Iraq's invasion of Kuwait, after taking on a cargo of crude oil at an Iraqi pipeline that terminates on the Mediterranean Sea near Turkey's border with Syria.
+Cuba has been hit by oil shortages stemming from a slowdown in deliveries by its major supplier, the Soviet Union, and President Fidel Castro recently imposed drastic energy conservation measures throughout the island."
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+LEAD: Arthur Ashe, the former United States Open and Wimbledon champion, was listed in satisfactory condition at New York Hospital-Cornell Medical Center yesterday and said he hoped to be released by the end of the week. He was admitted last Thursday after feeling numbness in his hands while attending the United States Open at Flushing
+Arthur Ashe, the former United States Open and Wimbledon champion, was listed in satisfactory condition at New York Hospital-Cornell Medical Center yesterday and said he hoped to be released by the end of the week. He was admitted last Thursday after feeling numbness in his hands while attending the United States Open at Flushing Meadows.
+'I had some problems with my hands but I can't give more details,' said the 45-year-old Ashe, who underwent quadruple bypass heart surgery in 1979 and had a double bypass four years later after a second heart attack. He said the tests were not related to his heart problems.
+Ashe won the first United States Open in 1968 as an amateur and won Wimbledon in 1975 by upsetting Jimmy Connors. After leaving the tour he was captain of the United States Davis Cup team, serving for five years and leading the United States to cup victories in 1981 and 1982.(AP)"
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+After a brief meeting today, most of the Knicks worked on their shooting. But Marcus Camby passed up the rack of basketballs and instead cradled an electronic stimulation machine in his right arm as he sat against a wall.
+His right eye was swollen nearly shut with an adhesive bandage over a cut on his eyelid. That injury was the result of his taking an elbow from the Heat's Otis Thorpe during the Knicks' 82-76 victory Tuesday night in Miami.
+Camby's right elbow was attached to a tangle of wires in an effort to keep the swelling down on a bruise he sustained after he crashed to the floor at American Airlines Arena in the first half.
+The slender reserve was also nursing of a sore wrist as a result of that tumble, but he didn't mention the sore knees that had put him on the injured list twice this season.
+'I've got a full range of motion,' Camby said of the elbow. 'I've been treating it all morning and all last night when we got in late. I'll continue to treat it all day today and tomorrow. I don't think it will affect me.'
+Despite his injuries, Camby maintained his sense of humor. He laughed about the notion that he epitomized the physical Knicks-Heat Eastern Conference semifinal series.
+'Yeah, the games are physical,' Camby said. 'But I don't think my being hit in the eye was deliberate. Everybody was going for the ball and I was in the wrong place at the wrong time. It was just the nature of the game being physical under the basket and stuff. That's how the series is going to be played: both teams getting after each other, being aggressive.'
+When he was acquired by the Knicks two years ago from the Toronto Raptors, Camby had a reputation as a soft player. But Tuesday night he iced his injured elbow at halftime and returned to action as the Knicks tied the four-of-seven-game series at a game apiece.
+Camby said he would be ready for Game 3 on Friday night.
+'They want me to get X-rays and an M.R.I. today, but I don't think it was necessary,' said Camby, who won that argument and did not have to undergo the procedures.
+'I'll be fine. It was hard to sleep on it, plus my eye and my wrist, but I'll be all right. I think I'll be fine and ready to go on Friday. I could have practiced today.'
+His teammate Chris Childs said: 'The guy comes in practice and works hard and plays hurt. He's not afraid of challenges. He goes in and does all the little things to help the team win.
+'He's a guy I'm proud of because of the way he performed and sucked it up. He's always yelling: 'I'm tough. I'm tough.' He proved it last night.'
+Ewing Does Homework
+Patrick Ewing opted to work longer and harder than any other Knick player today, despite the back spasms that have plagued him for the last five days.
+Ewing spent nearly an hour, first banging with Andrew Lang in an intense game of one on one, and then working with the assistant coach Brendan Malone to correct flaws that have limited him to 35.7 percent shooting in the first two games of the Eastern Conference semifinals.
+'I'm trying to get back in the groove,' Ewing said when he finally came off the floor.
+The 37-year-old center was so overheated that he waited until he got to the locker room to envelop himself in his usual ice-pack wrap.
+'I think the fact I was hampered I kind of lost my footwork,' he said. 'I just worked on it a little bit.'
+'Hampered' was as far as Ewing would go toward acknowledging that his back was even a minor problem. After spending last season limping on a strained Achilles' tendon until it finally tore in the Eastern Conference finals, he did not consider this injury worth discussing.
+'I'm not worrying about my back,' he said. 'I'm able to play. It feels fine.'
+His former college coach, John Thompson, said in the TNT telecast on Tuesday night that Ewing's back was hurting more than he was letting on.
+Ewing, however, would not respond to that notion.
+'I'm able to play,' the Knick said.
+Childs Eats His Words
+Chris Childs spoke up on Monday, commenting that the Knicks would have to play a more physical brand of defense.
+The words drew an unfavorable response from Rod Thorn, the National Basketball Association's senior vice president for basketball operations. And it seemed to show on the floor in Game 2, when Childs fouled out in 11 minutes of action.
+'Right things to say, wrong person,' Childs said. 'I don't know if it was because of that. I'm done talking about that.'
+When he fouled out with 6 minutes 59 seconds remaining in Tuesday's game, Childs yelled at Miami's Tim Hardaway. Childs felt that Hardaway had thrown an intentional elbow at his face. He then left the bench and went to the locker room to cool off.
+'I mean, the fouls were my fault,' Childs said. 'I didn't adjust to the way the game was being called. But I only know one way to play, and that's as hard as possible. That's what my teammates and coaches expect of me. But I've been around long enough. I should have adjusted and kind of backed off the pressure a little bit. I don't think it called for me to be called for a foul the time I got hit in the face with an elbow. But I didn't adjust, so I'm to blame not the refs.'
+Childs added: 'I said some things to Tim afterward. He didn't say anything. I just didn't think it was necessary to do that. It's not the first time it ever happened. What's done is done. I'm not going to concern myself about that too much.'
+PRO BASKETBALL: NOTEBOOK"
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+Three days after formally resigning, the handpicked Prime Minister of Haiti's exiled President lashed out this weekend at the man who appointed him, describing the Rev. Jean-Bertrand Aristide as an erratic figure and questioning his willingness to return to office under internationally negotiated conditions.
+The departing Prime Minister, Robert Malval, spoke on Saturday, shortly after returning from a two-week trip abroad during which he tried and failed to organize a national conference in Haiti to break the country's political stalemate. The idea was rejected by Father Aristide, who said that the security of his supporters could not be guaranteed inside Haiti.
+Mr. Malval described the Haitian President as a man with ""a serious ego problem,"" who along with his advisers in exile is ""playing with our lives, playing with the future of Haiti.""  Caught in a Trap
+It is the first time that Mr. Malval has publicly accused Father Aristide of hampering efforts to settle the crisis. The Prime Minister still blames the military for the collapse of a brokered accord that was to have reinstated Father Aristide by Oct. 30.
+In an interview at his house, Mr. Malval described Haiti as caught in a trap between Father Aristide, the country's first democratically elected President, and the man who presided over the President's ouster in September 1991, Lieut. Gen. Raoul Cedras.
+He said neither man seemed willing to make the compromises needed to reach a political solution that would halt Haiti's steep economic decline and prevent disaster for its people.
+""The country is stuck between a man who refuses to resign and a man who has made a choice to remain abroad as a sort of flag bearer, a mythic symbol,"" Mr. Malval said of General Cedras and Father Aristide.
+""Everything Aristide is doing is meant to preserve his image among Haitians from Miami to Montreal,"" Mr. Malval said. ""But the problem is that this country is going straight to hell and one day the myth is just going to collapse.""
+To step up pressure on the military, the United Nations imposed an embargo on oil sales to Haiti in October that has aggravated the suffering of the country's poor.
+Aides to Father Aristide said he had vetoed the national conference not just out of security concerns but also because he feared that the proposed political gathering would result in new limits on his powers.
+""When you go into a conference like this, you know they are going to squeeze you,"" said Robert E. White, a former American Ambassador to El Salvador who advises Father Aristide. ""If the President had accepted the conference and then refused to go along with any new constraints on him, he would have looked all the more intransigent.
+""As it is, no serious pressures have ever been brought on the military,"" Mr. White said. ""They have all been applied to Aristide.""
+Informed about Mr. Malval's criticism by a reporter, Mr. White that said he had conferred with Father Aristide today and that the deposed President had ""nothing to add"" to his adviser's remarks. Malval Virtually Powerless
+Mr. Malval, a 50-year-old publisher who had not previously been involved in politics, was appointed Prime Minister in August by Father Aristide after playing a crucial role negotiating the July accord with the military providing for the President's return to office.
+General Cedras later refused to resign as commander of the armed forces, violating the agreement he had signed. The security forces also organized violent demonstrations in October to deter international monitors and soldiers from paving the way for Father Aristide's return.
+Since then Mr. Malval's Government has been virtually powerless. Though he formally resigned on Wednesday, he still technically has authority over the Government's day-to-day affairs. Last week, President Aristide stripped him of his authority to undertake political initiatives.
+Mr. Malval said that when he was appointed in August he had expected that the military would try to block Father Aristide's reinstatement. But he said that the president's behavior had surprised him.
+Both Mr. Malval and diplomats who were involved in trying to organize the aborted conference said that Father Aristide, apparently distrustful of Mr. Malval, had repeatedly approved steps to resolve the political stalemate during his Prime Minister's trips to Washington, New York, Paris and Rome, only to suddenly withdraw his support. Aristide Distrust of Washington
+Prime Minister Malval said that Father Aristide had abruptly withdrawn his backing for the national conference and the relaunching of an international military mission to Haiti last Tuesday after it had been painstakingly arranged with the White House and leaders in the United States Senate.
+The reversal came a day after President Clinton received both Father Aristide and Mr. Malval at the White House to express support for the initiative, he said.
+Aides to Father Aristide have said privately that the exiled President had grown distrustful because he suspected that Washington and diplomats at the United Nations were positioning Mr. Malval to somehow supersede him. Relations between United States officials and Father Aristide, a leftist priest, have long been uneasy.
+An aide to Mr. Malval, speaking on the condition of anonymity, said that even some aides in the Prime Minister's camp had shared that suspicion during their recent stay in Washington.
+""Americans did everything they could to build up Malval at the expense of Aristide,"" the aide said. ""His invitations and meetings around Washington had every appearance of a coup d'etat in the making.""
+A Western diplomat who was involved in those meetings and has played a leading role in organizing diplomacy in Haiti dismissed the suspicion as ""ridiculous.""
+Senior Administration officials in Washington have often privately expressed exasperation, however, with what they assert has been a lack of cooperation from Father Aristide.
+Many diplomats concede that efforts to restore Father Aristide are now completely stalled, although the oil embargo remains in place and a delegation of military officers from the United States, France, Canada and Venezuela is due in Port-au-Prince this week to meet with Haitian Army leaders.
+The delegation hopes to revive the idea of separating the Haitian police and army and involving them in efforts to rebuild the country's infrastructure under the July accord."
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+The big man and the young woman were strolling across the stepstones today at Doral Resort and Spa. Hand in hand, through the flowers and past the big marble fountain in front of the hotel, they bounced like a couple of carefree school kids, into the lobby and down the stairs.
+This is how Nick Faldo makes entrances these days. Happy, smiling, at ease, with his friend Brenna Cepelak at his side, Faldo, 38, returns very relaxed to defend his title in the Doral-Ryder Open.
+Given the occurrences of the last three and a half months -- the acrimonious breakup of his 10-year marriage with his wife, Gill, the impending loss of millions of pounds in a divorce settlement and the British tabloids' relentless  pursuit of Faldo and the 21-year-old Cepelak -- this is somewhat remarkable. It  is even more so considering Faldo's reputation as a stoic and somewhat dour personality.
+But all is now propitious for Faldo, and he believes he is past the turbulence in his personal life and back on track in his profession.
+""When all this broke around the Tour Championship in October, we had a month  of hell, courtesy of the British tabloids,"" Faldo said. ""It's old hat now, fortunately, it's old news.""
+But Faldo chose this hot, tropical morning at the site of his last victory to discuss it all publicly for the first time. He recalled a period of siege, during which Cepelak, a former University of Arizona golfer, was hounded by tabloid reporters, during which paparazzi sat outside his home in Orlando, Fla., and his home in London where his wife and three children live with telephoto lenses focused on the doors and windows. That, he said, wasn't the worst of it.
+""They go through trash cans, they listen in on phone calls and things like that,"" he said of the tabloids. ""It's just the incessancy of it. They leave 27 messages on your phone from the same guy. He just puts the phone down and redials, puts the phone down and redials, basically just keeping going until you crack, which is a weird way to treat another human being, I think.""
+A huge tabloid contingent has followed him everywhere. Meanwhile, in Tucson,  Ariz., Cepelak has had to climb into the trunk of a car to try to get past reporters and to her classes. One particularly insistent photographer, who refused requests to leave, was physically removed from one of her classrooms and arrested. Cepelak has since dropped out of school.
+The two now travel together to tournaments on the Professional Golfers Association Tour and Faldo awaits word from England on the progress of the divorce, which will be his second. One London newspaper reported that Faldo had  offered a $12 million settlement. But Gill Faldo is reportedly pushing for a larger percentage of Faldo's wealth, which is estimated at $60 million. She has  hired the legal firm that is working for Diana, the Princess of Wales, in her divorce proceedings.
+Celebrity divorces don't often attract quite so much scrutiny. Certainly, golf divorces don't. In the early 1980's, Lee Trevino got away with joking about his split and remarriage to a much younger woman by saying that since his new wife had the same name (Claudia) as his previous wife, he ""won't even have to change the monogrammed towels.""
+But Faldo is a huge celebrity in Britain, certainly one of the top three sports figures in the nation. Whatever he does is news. He hadn't won a major golf championship in three years, but it turned out his search to recapture that magic was only part of what brought him to America last year to play full time.  In addition to his golf game, his marriage was also shaky, and when the scent of his dalliance with the young college golfer was picked up in London, the ""rotweillers"" lept on the story.
+Now that much of the smoke has cleared, Faldo is palpably relieved and loose. Always a man with an underrated sense of humor, he has taken to cutting up in public -- he donned a wig and mugged for cameras during the rain-shortened AT&T  Pebble Beach National Pro-Am -- and joking with galleries. Perhaps not coincidentally, he is performing better on the course, striving to recapture the form that enabled him to dominate the sport from 1987 to 1990.
+""Yeah, yeah, I'm feeling good,"" he said. ""I think I've shown that. I'm having a good time out there, on and off the golf course.""
+In his three West Coast appearances this season, Faldo's stroke average is 68.5. He hasn't shot an over-par round yet. He had an opportunity to win the Mercedes Championship, but his final-round 67 was not quite enough to overtake Mark O'Meara. Faldo's final-round 64 at the Buick Invitational at San Diego tied the winner, Davis Love 3d, for low round of the day and put him in a good frame  of mind coming to Florida.
+This is a pivotal point in Faldo's career. With the 1992 British Open at Muirfield as his last major victory, with his lackluster performances in all four majors last year (his best finish was a tie for 24th in the Masters), questions have been raised about his motivation.
+He has answered the questions about his personal life. Now he hopes to answer the ones about his professional life, starting right here at Doral, the site of  his last victory.
+CHIP SHOTS
+Ryder System Inc. announced that it was extending its sponsorship of the Doral-Ryder Open. After a 10-year affiliation, the Ryder chief executive officer, M. ANTHONY BURNS, said the tournament ""fits into our strategic direction."" The length of the renewal was not announced, but PGA Tour Commissioner TIM FINCHEM described it as ""long term."" . . . Golf Digest will publish a list of the richest people in golf in its April issue. No. 1 on the list is ROBERT DEDMAN, the president of Club Corporation International, with a net worth of $1 billion. There are two golfers in the top 10. JACK NICKLAUS is No. 6 with $250 million and ARNOLD PALMER is No. 7 at $200 million.
+GOLF"
+False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Arts, Briefly; Making Movies
+Columbia Pictures announced yesterday that Deborah Schindler and Elvis Mitchell would become executive production consultants in charge of development and production for the studio's New York office. They have already acquired the rights to remake the new documentary 'Ring of Fire: The Emile Griffith Story' into a feature film. Ms. Schindler, who began her career as Martin Scorsese's assistant in the 1980's, was head of Red Om Films and produced features with Julia Roberts for Revolution Films. Mr. Mitchell has been a film critic for several publications, most recently for The New York Times from January 2000 until April 2004. He briefly served as director of development for Paramount in the early 1990's. Reached by phone, Ms. Schindler said: 'Our mandate is to create our own entity, unlike New York offices have been in the past. We're going to make films, not just develop them.' 'Ring of Fire,' directed and produced by Dan Klores and Ron Berger, tells the story of the boxer who beat his ring opponent to death in 1962. It was acquired at the Sundance Festival by NBC-Universal and is to be broadcast April 20 on the USA Network. Mr. Klores will produce the remake with Scott Rudin.
+JOEL TOPCIK"
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+Curlin is undefeated and wickedly fast, and on Wednesday he was made the morning-line favorite to win the Kentucky Derby. The untested colt is trying to outrun history and will have to do so from a difficult post: the No. 2 hole.
+Curlin's trainer, Steve Asmussen, had little choice but to bury him near the rail for the 133rd running of the Derby. Asmussen drew the 16th selection in the Derby's two-tier post-position draw. What was left were the No. 1 and 2 posts, or the No. 18, 19 or 20 holes. The choice for Asmussen was stark: give up ground from the outside, or risk being crushed inside.
+Asmussen believes that the mammoth chestnut Curlin, a son of Smart Strike, is quick and muscular and can stay out of trouble in what is usually a roughly run opening quarter-mile.
+Besides, Curlin had run well from the No. 2 post in his record 10 1/2-length victory in the Arkansas Derby on April 14. For those looking for an omen, consider that Affirmed was the last Derby champion to win from that post, and he went on to sweep the Triple Crown in 1978. There has been no Triple Crown winner since.
+'I think a horse of his size can secure a good position,' Asmussen said of Curlin, whom the Churchill Downs oddsmaker, Mike Battaglia, made the 7-2 favorite.
+Whether Curlin can overcome a lack of experience is another question. He did not run as a 2-year-old and has run only three races in his career. The last winner of the Derby to miss a 2-year-old season was Apollo in 1882, and the last horse to wear the blanket of roses with so few starts was the filly Regret in 1915.
+But Asmussen is convinced that he has a once-in-a-lifetime horse, and he is looking only at recent history. He compares Curlin to last year's Derby winner, Barbaro, and to the 2001 Derby favorite, Point Given, who finished fifth in the Derby but went on to sweep the Preakness and Belmont Stakes. He was thinking of Point Given, and that colt's No. 17 post position, when he decided to go inside.
+'I thought the outside post beat the best horse that day,' Asmussen said. 'They were very big, talented horses. It worked out for one and it didn't for the other. That's the scenario we're faced with.'
+The second choice in the morning line, Street Sense, at 4-1, may very likely be the favorite at post time. A son of Street Cry, Street Sense will break from the No. 7 post and, in theory, lope along in midpack before finding a spot near the rail to unleash a late run. At least that is how Street Sense and his jockey, Calvin Borel, won the Breeders' Cup Juvenile here last year by a record 10 lengths and became the 2-year-old champion.
+Street Sense also has to overcome history. In the 22 years of the Breeders' Cup Juvenile, no winner has gone on to capture the Derby. He is trying to become the first Derby winner since Sunny's Halo in 1983 to win off only two prep races.
+'He is ready to run; we have no excuses,' said his trainer, Carl Nafzger, who won the 1990 Derby with Unbridled.
+Nafzger put little stock in Curlin's status as the morning-line favorite.
+'Like I always say, we're all 19-1 when we go to the gate,' said Nafzger, referring to the Derby's 20-horse field. 'I just want to be No. 1 at the wire.'
+Nobiz Like Shobiz and Circular Quay were installed as the co-third choices. Nobiz Like Shobiz, who will leave from the 12 post, and his trainer, Barclay Tagg, arrived here late Wednesday afternoon after training in the morning at Belmont Park.
+In 2003, the Tagg-trained Funny Cide broke from the No. 5 post and went on to victory. But that post was gone when it was time to select. He also wanted to give his jockey, Cornelio Velásquez, the best chance to get Nobiz into a comfortable stalking trip.
+'I'm happy,' he said. 'Originally, I kind of wanted to select between 4 and 8, but I did some research and talked to some people and changed my thinking, and wanted a post between 9 and 13.'
+For the late-running Circular Quay, his No. 16 hole hardly mattered.
+'He'll drop back and come running,' his trainer, Todd Pletcher, said of Circular Quay, the Louisiana Derby champion.
+Circular Quay is one of a five record-tying entries for Pletcher. Only Pletcher's former boss D. Wayne Lukas (in 1996) and Nick Zito (2005) have mustered that much horsepower for a single Kentucky Derby. On Saturday, Pletcher will also send the Florida Derby victor Scat Daddy (10-1) from the No. 14 spot and the Illinois Derby winner Cowtown Cat (20-1) from the No. 6. Any Given Saturday (12-1) will break from the No. 18 position and Sam P. (20-1) from the No. 13.
+Ultimately, Asmussen believes they will all be chasing Curlin. He is more afraid of them than the history book.
+'This is a talented group of horses,' he said. 'They are in excellent shape and came here confident and expecting to win. We feel that is our mind-set as well.'
+HORSE RACING"
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+Despite her poor showing in the parliamentary elections, the Bosnian Serb President, Biljana Plavsic, looks set to form a new government -- with the help of her Western backers.
+Ms. Plavsic's candidates won only 15 of 83 seats in elections in November, but her Western supporters have worked to block backers of her rival, Radovan Karadzic, from obtaining a parliamentary majority.
+In fact, within a week, Western diplomats say, the government of the Bosnian Serb republic will be in her hands, despite the fact that supporters of Dr. Karadzic, the wartime leader who is now under indictment on war-crimes charges, hold 39 of the 42 seats needed for a majority.
+The Parliament met here today, but continued the stalemate that will probably be resolved only with international intervention. And under the present circumstances, the outside forces have the power to form the government.
+The Spanish diplomat Carlos Westendorp, who is in charge of carrying out the Dayton peace agreement, warned today that he would remove obstructionist deputies from the Parliament by the end of the week if the wrangling that characterized today's meeting continued.
+Dr. Karadzic's supporters, who include 15 deputies from the ultra-national Radical Party, would, in effect, be banned from the assembly.
+Mr. Westendorp, given broader powers last December by industrialized nations involved in overseeing the peace plan in Bosnia, has been increasingly ruling by fiat. He has set up his own commission to create a common flag after the Bosnian Serbs, Muslims and Croats did not meet a deadline to do so. He has drafted foreign investment legislation, rammed through a common passport and a citizenship law and is working on a common currency after the Muslims, Croats and Serbs did not meet imposed deadlines.
+'The international community cannot stay here 10 years,' he said.  'A government has to be formed, and the peace agreement has to be respected. When I see that a decision needs to be taken, and I have the feeling one side is obstructing its implementation, I will take the decision.'
+There are hundreds of millions of dollars of the $5.1 billion in reconstruction and development aid waiting to be disbursed to the Bosnian Serbs. The refusal by the Bosnian Serb leadership to abide by the Dayton accord, which calls for a united Bosnia and the return of more than a million displaced people to their homes in the Bosnian Serb republic, has meant that aid to the Serbs has been withheld for the fiscal years 1996, 1997 and 1998.
+Ms. Plavsic, desperately short of money, has been unable to pay pensions and government salaries or to pay for the operations of schools and hospitals. Western diplomats say her support is eroding. They hope that an infusion of money to a government under her control will bolster her popularity, show Serbs the benefits of cooperating with the international peace effort and further isolate the wartime leadership.
+Dr. Karadzic, who despite having promised to retire from public life wields enormous influence, sent a rambling letter to his followers last month calling on them 'to block the formation of a new government.'
+There will be parliamentary and presidential elections in September,  and Western diplomats said the Serbian hard-liners were trying to cling to power until the new vote.
+Karadzic supporters, like Momcilo Krajisnik, the Serbian representative of Bosnia's three-member Presidency, are incensed.
+'We get very angry when we are threatened,' he said. 'This is a transparent attempt to destroy us and our republic.'
+Ms. Plavsic, with backing from NATO troops who seized police stations and television transmitters last summer on her behalf, controls the western half of the Serbian Republic, where two-thirds of the 800,000 Bosnian Serbs reside. Dr. Karadzic controls Pale, outside Sarajevo.
+Dr. Karadzic threatened to walk out of today's meeting over the issue of control of television transmitters."
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+Bill Frisell's music easily became a soundtrack when it accompanied images by the cartoonist Jim Wood-ring at Zankel Hall on Sunday night. A little too easily, perhaps. Billed as a multimedia collaboration, the concert led Mr. Frisell back to the wistful, reticent, watercolor arrangements he has regularly visited on his own.
+Both Mr. Frisell and Mr. Woodring make the familiar unfamiliar. In Mr. Frisell's compositions, cozy, archetypal Americana -- country tunes, blues, waltzes -- is slowed down, melted at the edges, eerily reharmonized or disassembled and contemplated part by part. Mr. Woodring's work, in the tradition of 1960's underground comic books, sets homely characters (notably a puffy-cheeked cat named Frank) in hallucinatory landscapes populated by strange, biomorphic emanations.
+Mr. Woodring and Mr. Frisell have collaborated before, building on each other's images and music with 'Mysterio Simpatico' in 2002. This reunion apparently used more ready-made materials. For the first part of the concert, Mr. Woodring provided slowly changing still images. Then came animated Frank cartoons from Japan, with Mr. Frisell's music substituted for their original soundtracks.
+Mr. Frisell, on guitar, led his 858 Quartet -- with Jenny Scheinman on violin, Eyvind Kang on viola and Hank Roberts on cello -- plus Ron Miles on cornet and Greg Tardy on saxophone and clarinet. With this group, Mr. Frisell leans toward chamber music: hovering chords or pizzicato patterns from the strings, gentle melodies and an occasional flurry of improvisation from the horns. He plays guitar with preternatural smoothness, wafting notes into existence with barely a hint of attack, teasing out melodies or warming the harmonies with sustained chords.
+The group played Mr. Frisell's own pieces and idiosyncratic versions of 'You Are My Sunshine' and 'What the World Needs Now.' There was a bluesy waltz that allowed Mr. Miles's muted cornet to growl a little; a drone-based piece in which Mr. Kang played raga-like viola lines; harmonically convoluted ballads; transparent contrapuntal mobiles; and tunes with hints of country fiddle and of jazzy swing, though nothing too pushy. Delicate and leisurely, the music seemed to float in suspended gravity. Only one piece, with a bebop guitar lick set against the strings lilting a chromatic scale, sounded anything like typical cartoon music.
+Mr. Frisell's pensive, constrained pieces played against films that have Frank always on the move, surrounded by metamorphoses. They were homey and soothing rather than footloose, and they would have been more vivid on their own. On Sunday, they were usually overshadowed by a cartoon cat.
+The New York Guitar Festival continues through Feb. 8.
+NEW YORK GUITAR FESTIVAL REVIEW"
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+LEAD: For the fifth time in his 19-year major league career, Bert Blyleven is shifting teams, but this time the move will bring the pitcher home. Blyleven, winner of 254 games (and loser of 226), was sent from the Minnesota Twins to the California Angels yesterday for three minor league players. Although he was born in the Netherlands 37 years ago, the right-handed Blyleven grew up in southern California and lives in Villa Park, 10 minutes from Anaheim Stadium.
+For the fifth time in his 19-year major league career, Bert Blyleven is shifting teams, but this time the move will bring the pitcher home. Blyleven, winner of 254 games (and loser of 226), was sent from the Minnesota Twins to the California Angels yesterday for three minor league players. Although he was born in the Netherlands 37 years ago, the right-handed Blyleven grew up in southern California and lives in Villa Park, 10 minutes from Anaheim Stadium.
+The Angels also obtained Kevin Trudeau, a pitcher, for Mike Cook and Rob Wassenaar, pitchers, and Paul Sorrento, an outfielder.
+The Twins traded Blyleven less than 48 hours before he could have filed for free agency.(AP)"
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+As United States troops prepare for a NATO peacekeeping mission in Bosnia, a  22-year-old American soldier is facing a military trial here for refusing to wear United Nations insignia for a mission elsewhere in the Balkans.
+The trial of the soldier, Specialist Michael G. New, of Conroe, Tex., has struck a chord in Washington, where scores of legislators opposed to United States involvement in United Nations operations have signed a petition supporting the soldier.
+Specialist New is being tried for disobeying orders on Oct. 10 when he refused to wear a United Nations blue beret and shoulder patch as his 550-member infantry unit assembled at its barracks in Schweinfurt, Germany, for deployment  to Macedonia.
+American troops have been part of a United Nations mission in Macedonia since 1993. Their presence is supposed to prevent the spread of war from the north.
+As the troops went on inspection parade, Specialist New was the only soldier  wearing a United States Army uniform without the United Nations additions. The rest of the unit left for the Balkans without him on Oct. 20.
+Specialist New argues that the order to serve under United Nations command is illegal because he has sworn his oath of allegiance to the United States, not the United Nations.
+His refusal is believed to be the first of its kind in the recent history of  American involvement in United Nations peacekeeping missions.
+""I am not a United Nations citizen or a U.N. soldier,"" he said in a statement issued recently by his lawyers. ""I am an American and an American soldier.""
+One of his lawyers, Ronald R. Ray, told reporters: ""Nobody else but him stood up for the U.S. Army uniform in a sea of people wearing U.N. uniforms. I think that took a lot of guts.""
+""Michael New was willing to obey any lawful order,"" Mr. Ray said after brief  proceedings in a military courtroom. ""We are arguing that he was given an illegal order."" The trial is to continue in December.
+The Army argues that the order was legal under the classified Presidential Decision Directive 25. Along with the United Nations Participation Act of 1945,  the directive sets out the conditions under which American troops may be placed  under United Nations command.
+Defense lawyers are demanding that confidential American directives be made public for the purposes of the trial.
+If convicted, Specialist New faces a maximum penalty of reduction to the rank of private, six months' confinement, loss of pay and a bad conduct discharge."
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+After the Giants lose, Coach Tom Coughlin usually steps before the news media and, without prompting, offers an animated and forceful dissection of the game.
+When the Giants beat the Washington Redskins, 19-3, at Giants Stadium on Sunday, Coughlin stepped to the lectern and did not offer an opening soliloquy. He casually asked for questions. And then he became angry.
+After saying he was pleased with his team's performance, Coughlin displayed little joy when asked whether such an emphatic victory could 'quiet things down' from the turmoil of the previous two weeks -- the ones that followed an embarrassing loss in Seattle and the utterance of the dreaded 'outcoached' word by tight end Jeremy Shockey.
+'You know what?' Coughlin said to reporters. 'There never was anything that had to be quieted down. You take one statement and run with it, which you all did, and enjoyed it, for two weeks. There wasn't any problem in the locker room, O.K.?'
+Whatever had been in the locker room -- whether doubt, disillusionment or just the smell of dirty laundry -- was swept away by the victory, replaced by relief and much-needed confidence. In a reversal of previous games, the Giants (2-2) systematically shut down the opposing offense, moved the ball consistently, took a halftime lead and won easily enough to chase the fans out of the stadium to enjoy the rest of a cloudless, room-temperature fall afternoon.
+'Just what the doctor ordered,' receiver Amani Toomer said.
+The Giants, considered a likely postseason contender when the season began, had been falling precipitously toward pretender status. They played decently in a season-opening loss to Indianapolis, horribly for most of a stunning come-from-behind victory at Philadelphia and wretchedly in the loss to the Seahawks before last week's bye.
+They vowed to straighten up a loose defense and an inconsistent offense. The key might have been exorcising an unhealthy attitude.
+'I feel like the first three games we were playing with a sense of entitlement,' center Shaun O'Hara said. 'And today we played with a sense of urgency.'
+Quarterback Eli Manning was good against the Redskins, as he has been this season with few exceptions, completing 23 of 33 passes for 256 yards with one touchdown and no interceptions. Running back Tiki Barber had 123 yards on 23 carries, routinely sliding through the first line of Washington's defense like a button through a buttonhole.
+The offense moved with certainty and pizazz, but it made a habit of stopping short of the goal line. The Giants, in compiling 411 yards and holding the ball for nearly 10 minutes more than the Redskins (2-3), produced one touchdown -- a 2-yard lob from Manning to receiver Plaxico Burress in the third quarter -- and four field goals by Jay Feely.
+But the offense's inability to dominate the scoreboard was rendered moot by the defense. The Giants' defense had allowed more points, on average, than all but one of the other 31 N.F.L. teams. It had looked, at times, porous and confused.
+Yet against the Redskins, who had gained 976 yards and scored 67 points combined in the previous two games, the Giants' defense unexpectedly dominated. The coordinator Tim Lewis and his assistants simplified the defensive assignments by limiting the number of changes at the line of scrimmage -- 'Just go and don't think too much,' defensive end Michael Strahan said in describing the philosophy.
+The Giants rebuilt their flagging confidence by limiting the Redskins to one field goal. They never allowed the Redskins to drive inside the Giants' 20.
+The Giants held the Redskins to 164 yards. They kept running back Clinton Portis (19 carries for 76 yards) from gaining momentum, and prevented the Pro Bowl receiver Santana Moss (three catches for 39 yards) from creating his usual chaos. The Giants also had three sacks, one more than they had in the season's first three games combined.
+It was the best defensive performance since last October, when the Giants beat the Redskins, 36-0.
+'When this team is flying and playing with confidence and swagger, and just believing and not getting overly hyped or overly down, I think this is the result you can get,' linebacker Antonio Pierce said. 'Yeah, yeah, we don't have the best of everything right now. We don't have everything that we'd like to have be perfect. But we do have what we need to win and to be a good defense.'
+Linebacker LaVar Arrington, like Pierce, previously played for the Redskins. Arrington left in a bitter split last off-season, and his play had been unspectacular through three games with the Giants. Last week, a former Washington teammate and an assistant said Arrington understood little about the Redskins' defense.
+On Sunday, he was quietly solid, starring in a highlight by batting down a pass by Mark Brunell as he pursued him.
+'There was a lot to try and juggle these past two weeks,' Arrington said. 'But the one thing, myself, that I'm proud of was that the whole team stayed focused enough to really push through and really believe in themselves and believe in the scheme and get it done.'
+More than anything, the defense allowed the typically potent Giants offense to stick to its strategy. In the first three games, the Giants were outscored, 82-24, in the first three quarters. They were thrust into a hurry-up mode, with little time for running and clock hogging, their preferred strategy.
+'We have to give them credit for giving us great field position,' Barber said of the defense. 'And to allow our offense to function in its normal way, which was back to Giant football, running the ball.'
+The Giants leapfrogged the Redskins in the National Football Conference East standings. And they lifted their division record, important in tie breakers, to 2-0.
+The only bad news for the Giants appeared to be another injury to Shockey, whose foot was examined after the game. When he finally emerged in the locker room, two weeks after his now-infamous 'outcoached' utterance in a different locker room 3,000 miles away, Shockey was not his usual unscripted self.
+He had more penalties (two) than receptions (one, for 13 yards). He played down the injury, declining to say whether it was new or the latest tweak to a sore ankle.
+'We did a good job winning this game,' Shockey said, taking no questions. 'We defeated the Washington Redskins, which is a positive thing. Now we can build on this win and keep continuing to get better as a team. The overall team effort was great today. I'm very excited for the win, and that's about all I have to say. Thanks.'
+Those are the types of words that should make Coughlin happy. And beating the Redskins, too.
+PRO FOOTBALL"
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+Between columns of amber marble, darkened by age and burnished by worshipers, the occupiers had laid grubby mattresses and brown blankets, tangled and rumpled. At the low entrance, called the Door of Humility, the air was acrid with urine. Under the high wooden vaulted ceiling, empty sardine tins dripped oil among spilled votive candles.
+The only visible damage was to the Franciscan priory next to the church, which had been scorched by one of three fires reported during the occupation till all that remained was blackened floors and ceilings.
+All in all, some priests said, it could have been worse.
+Early today, after 39 days under siege, over 130 people -- Palestinian gunmen and civilians, clerics and foreign protesters -- filed out of the Church of the Nativity, which marks the supposed birthplace of Jesus and where many of the Palestinians had sought refuge as Israeli troops pushed into the town on April 2.
+Hours after those who had occupied the church left, the Israeli soldiers who had besieged them packed away everything from portable generators to ammunition boxes and rolled in brisk, dusty convoys of jeeps and armored personnel carriers across Manger Square, leaving it eerily empty for just a second.
+With trepidation at first, then with a mounting bounce to their stride, residents who had lived under nearly constant curfew for more than a month stepped out of shuttered homes over battered streets. Crouching and jostling, they pushed into the low side door leading into the 1,700-year-old church, and gaped.
+A baptism font, festooned with bottles of Ajax bleach, appeared to have been used to wash dishes. An altar had served as a table. Cooking pots and gas stoves shared floor space with abandoned camouflage fatigues. Black garbage bags choked dark recesses. As in other parts of Bethlehem, the air was heavy with the tang of burned refuse.
+Yet some from the West Bank's dwindling Christian population brushed past those signs of defilement, moving to the marble steps leading down into the grotto that marks that exact place where Christians believe their Savior was born.
+There, they prostrated themselves before a many-pointed star, weeping openly, embracing. Some lit candles and caressed icons, ignoring the non-Christians and the reporters with cameras and notebooks and lights.
+The tumult was chaotic, spontaneous, breaking the careful and jealously guarded protocols that divide administration of the church between Orthodox and Roman Catholic denominations.
+'I was so crazy, so happy,' said Diana Masri, a 45-year-old Orthodox worshiper. 'I haven't entered my church for 40 days,' she said, bending strict chronology to match the biblical period that Jesus is said to have spent in the wilderness.
+Those 39 or 40 days now seem set to enter the canon of Palestinian mythology -- events when mere survival is cast as victory over Israel's vast military superiority. Indeed, the siege of the church had been accompanied by a curfew that added pressure on those inside the church to surrender. So Israel's withdrawal tonight released the entire town of 100,000.
+According to some of those who endured the siege, the people inside the church were dominated by armed Palestinians known as shebab, or the guys, the term given to militants by Palestinians since the first intifada, or uprising, of the late 1980's.
+They set up committees for food and decision-making on issues like whether people should leave the church, as scores did during its occupation.
+They maintained contact with the outside world on mobile phones and a radio. Meals were reduced to a single daily serving of rice and pasta soup, some of those who left the church said in interviews today.
+A Franciscan priest who spent the entire 39 days in the church, and declined to be identified by name, said: 'We were hostages only of peace. We could have left but chose to remain.'
+A Mexican priest trapped in the church, the Rev. Nicolás Márquez, said that in the early days some gunmen stole articles from the Armenian section of the church -- a bishop's gold chain and pectoral cross, a candelabra, an icon. But they put them back later.
+Greek Orthodox priests said that, initially, some gunmen or youths slept in the grotto where Jesus' birth is venerated, before priests persuaded them to sleep elsewhere behind the church's thick walls.
+Among the various groups there, 10 pro-Palestinian foreign activists had shown disrespect for the church, smoking and drinking, Orthodox priests complained to reporters.
+When they slept, some occupiers said, the priests kept to their own quarters and the Palestinians lay on the church's marble floor.
+'There was a well and we would wash, but there was no privacy,' said Salah Ajarmi, 29, one of the 84 Palestinian civilians in the siege.
+Muhammad Madani, a senior representative of Yasir Arafat, the Palestinian leader, said there had also been a committee for the disposal of the dead. Israeli troops, he said, shot to death eight people and wounded 27 others during the siege. Israeli officials said their snipers opened fire only on armed men. But Mr. Ajarmi disputed this. 'One of the dead was the bell-ringer,' he said.
+The days of the siege, Mr. Ajarmi said, went by in talking and discussing the big issues. Israeli officials said the occupiers did more than that.
+After the Palestinians and others left the church today, American agents collected tens of assault rifles left behind by the gunmen under the terms of their release. Israeli officers said their experts had found 40 'explosive devices,' including booby traps.
+But that claim conflicted with subsequent events.
+Even though the Israeli military said the church might be booby-trapped, monks and friars crammed through the door just after 5 p.m. to chant and pray in relief as the church's bells pealed for the first time in over five weeks.
+Then the Israeli troops withdrew, and people flooded into the church and saw no trace of bombs or explosives.
+Soon afterward, as the church reopened, Pietro Sambi, the Vatican's Jerusalem representative, in tailored robes trimmed in purple, entered the church, surveyed the evidence of recent occupation -- abandoned soup bowls and cooking gas cylinders -- and pronounced that this did not amount to formal desecration.
+The ornate golden cross still reigned above the nave of the church, the brass chandeliers and globes and lamps still hung from its ceiling. In the fading evening light, the mosaics high on the wall did not seem damaged.
+True, as Mrs. Masri, the worshiper said, 'men with guns should not be here.' But, at the end, this region's tangle of faiths reasserted themselves.
+Saheeya Khamees, a Muslim woman who said her son was one of the gunmen deported to Cyprus today, came to thank the Virgin Mary for protecting him and to ensure that the church 'is safe.'
+Shortly afterward, as the citizenry milled in Manger Square, or just took the unfamiliar evening air to munch an olive or smoke a cigarette, the muezzin called the Muslim faithful to prayer from the Omar mosque opposite the Church of the Nativity. That, too, people said, was a first in the 39 days.
+MIDEAST TURMOIL: AFTERMATH"
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+THIS WEEK, A NEW CHAMP breaks the endurance record and becomes the longest-running show in Broadway history. It's a concept musical that features 1) a chorus of dancers who tell their characters' stories in song and movement; 2) an over-the-hill female character attempting a sentimental comeback, and 3) a competition among the performers to be selected for a coveted, life-altering assignment.
+Hmm. Dancers, personal stories, competition. Didn't 'A Chorus Line' retire as the Street's king of the long run five years ago, after 6,137 performances? Well, yeah. But Michael Bennett's fabled ensemble show is not the one in question.
+The musical that will, at Thursday evening's curtain, surpass 'A Chorus Line' as Broadway's reigning Methuselah is 'Cats,' Andrew Lloyd Webber's wildly successful adaptation of T. S. Eliot's 'Old Possum's Book of Practical Cats.'
+The eerie narrative parallels between the two shows -- each has an episodic storyline built around a lengthy audition process, in the one case for a dance job and the other for a ticket to cat heaven -- suggest that there may be some winning formula for producers seeking to enter the longevity sweepstakes. But the truth is that contests are a staple of the contemporary musical, in shows as diverse as 'Starlight Express' and 'Steel Pier.'
+No, the fact that the two musicals use similar plot devices only goes to show how conservative much of the modern musical theater truly is, and how much the crowd-pleasing shows -- no matter how innovative they at first appear -- fall back on the conventional.
+And yet, the passing of the mantle from 'A Chorus Line' to 'Cats,' as it completes its 6,138th performance on Thursday, could not be a richer symbol of the artistic and financial shifts that have occurred on Broadway. 'Cats' was the production, after all, that ushered in the era of the megaspectacle, the heavily merchandised and immensely profitable model for a succession of lavish British musicals that in the 1980's and early 1990's not only came to dominate Broadway, but also shifted the balance of creative power in the musical theater from Times Square to Leicester Square.
+That 'Cats' would be the show to dethrone 'A Chorus Line' -- one of the most beloved American musicals of all time and conceived by one of the American musical theater's most gifted visionaries -- won't be applauded by theatrical patriots, or even by critics, many of whom had unkind words when the show opened at the Winter Garden on Oct 7, 1982. 'As it happens, 'Cats' does attempt a story,' Frank Rich wrote in The New York Times, 'and it also aspires to be the first British dance musical in the Broadway tradition. In neither effort does it succeed.'
+Interestingly, the triumph of 'Cats' has not inspired anything like the hoopla that preceded the ascension of 'A Chorus Line' to the longest-running perch. (The show's producers are planning to close Broadway between 50th and 51st streets after Thursday night's performance for a party-and-light show.) There just isn't that much enthusiasm in the air for a celebration of the 6,138 Broadway appearances by Mr. Mistoffolees, Rum Tum Tugger and Gus, the Theater Cat.
+So the question arises: Why has 'Cats' -- its 1983 Tonys for best musical, book, score, direction, costumes, lighting and featured actress (Betty Buckley) notwithstanding --  endured? What is it about this whimsical musical, with its trash heap of a set by John Napier -- considered daring in its day -- and cast of 22 felines who prowl the aisles of the Winter Garden, that has allowed it to live and breathe on Broadway longer than any other show, longer, in fact, than the original runs of 'Fiddler on the Roof' and 'Hello, Dolly!' combined?
+There is a degree of serendipity about the way shows run and run and run. 'The Mousetrap,' a London mainstay for 45 years, and 'The Fantasticks,' the longest running show in U.S. history, on Sullivan Street in Greenwich Village, have a curiosity value not unlike those mountain villagers in Central Asia who live to 110 on yogurt. The two shows have made an industry of their own longevity. Both are creaky  yet entertaining.
+But how to explain the durability of 'Perfect Crime,' a truly peculiar work that has run for more than 4,000 performances at various Manhattan theaters and is now ensconced at the Duffy Theater in Times Square?
+I recently bought a ticket to 'Perfect Crime' at the TKTS booth and sat through a Thursday evening performance, along with 23 other people scattered about the auditorium. The whodunit by Warren Manzi was as impenetrable for me as a crossword puzzle in Sanskrit. Not only can I not tell you why the murder occurred, I could not even figure out who was murdered. Its survival year in and out is the mystery I most want solved.
+A visit to 'Cats' and a perusal of the audience was more enlightening. As the first real tourist musical -- those trademark cat's eyes are as familiar as the strains of the show's hit song 'Memory' -- it has the advantages of a high profile and no language barrier. You don't have to be even marginally acquainted with English to follow the acrobatic antics of Macavity and Munkustrap and all those other singing and dancing felines.
+The experience, though, was a bit like a trip through the time tunnel, back to 1982, when Gillian Lynne's claws-out, arched-back choreography and Mr. Napier's costumes for tabbies and toms did communicate a theatrical freshness. But 'Cats' is now an artifact, not a living work. Peter Brook, in his famous 1968 study of the theater, 'The Empty Space,' concluded that a particular staging of a play has a shelf life of about five years.
+'It is not only the hairstyles, costumes and makeups that look dated,' he wrote. 'All the different elements of staging -- the shorthands of behavior that stand for certain emotions; gestures, gesticulations and tones of voice -- are all fluctuating on an invisible stock exchange all the time. In the theater, every form once born is mortal.'
+Don't tell that to the producers of 'Cats.' It's a terrifying thought, but could they have really meant 'now and forever' literally?
+STAGE VIEW"
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+Al Davis won the approval of National Football League owners today to move the Raiders from Los Angeles back to Oakland, but it is still not a done deal. A major financial hurdle, involving how much of the personal seat licenses revenue the league will get from Oakland, has to be cleared before the Raiders actually return after a 13-year absence.
+Davis and Commissioner Paul Tagliabue, in a show of unity, appeared at a news conference following the vote in which 23 of 30 teams voted in favor of the move and 5 abstained (Washington, Jets, Raiders, St. Louis and Tampa Bay). The 49ers and the Cardinals left the meeting before a vote could be taken.
+Both Davis and Tagliabue sounded optimistic, yet cautious, about the move. The Raiders first home preseason game is Aug. 12 against the St. Louis Rams.
+""While it's not a fait accompli, we appreciate the vote of the league for the opportunity to move to Oakland,"" Davis said. ""There are still some issues to be worked out, and they have to be worked out quickly, between the Oakland community, Oakland-Alameda County Coliseum, the Raiders and more importantly between the Oakland-Alameda County Coliseum and the league.""
+Davis acknowledged there's a possibility that if the deal falls through, he could wind up playing the 1995 season in Los Angeles.
+Davis walked away from the meeting here relatively unscathed from a financial standpoint, compared to the Rams, who were assessed a $29 million relocation fee and had to give up the $20 million derived from St. Louis's sale of personal seat licenses.
+Tagliabue said the situations were different. He said the Raiders met league requirements to relocate, while the Rams did not. In Tagliabue's estimation, the Rams, by going to St. Louis, took away an expansion location for the league and sought out the best possible deal.
+""A lot of what was going to the Rams was value established by the N.F.L., not the Rams,"" Tagliabue said. ""You have to ask if there is any other team in the league that would generate the kind of fan response in Oakland that the Raiders have.""
+That's why the Raiders weren't assessed a relocation fee. But there remains a question of how much the league will get from the sale of personal seat licenses in Oakland once they come up for renewal after they expire in 10 years. Davis has agreed to a 16-year lease with the Oakland-Alameda County Coliseum. The Coliseum authority intends to use money from the licenses to help pay for a $225 million bond issue for improvements in the stadium.
+It's not a major issue to Davis, because he'll get to keep all of the revenue from luxury boxes.
+John Shaw, the Rams' president, was unhappy over the developments. ""We expect all teams to be treated the same,"" Shaw said. ""Unless we find out that teams are not treated equally, then we'll take action."" Injured Boselli Out 6-8 Weeks
+STEVENS POINT, Wis., July 21 (AP) -- Tony Boselli, the Jacksonville Jaguars' top draft pick, is expected to miss six to eight weeks after having arthroscopic surgery on his left knee this morning. He will miss the entire preseason and perhaps the first two games of the regular season, which opens on Sept. 3.
+Boselli, the 6-foot-7-inch, 323-pound lineman from U.S.C., was selected No. 2 in the N.F.L. draft. He was scheduled to start at left tackle for the expansion team, but sprained the knee and dislocated the kneecap on Monday in a one-on-one drill with defensive end Jeff Lageman. Ex-Giant Loses in Court Again
+TRENTON, July 21 (AP) -- Lance Hamilton, a defensive back from Penn State who sued the Giants for discrimination in 1992 and lost in court, lost his appeal on Thursday.
+Hamilton, who is black, contended that he was promised an assistant coaching job by Coach Bill Parcells but was later denied the job because of his race. Parcells left the Giants after the 1992 season and was replaced by Dan Reeves.
+A lower court found no merit in the claim and the appellate judges said they found no merit in the appeal. Trouble for Vikings' Thomas
+HOUSTON, July 21 (AP) -- Minnesota Vikings linebacker Broderick Thomas was arrested at Houston Intercontinental Airport this morning while trying to board a plane, the police said. The arrest occurred after a metal detector revealed an unloaded .40-caliber Smith & Wesson semi-automatic in his luggage.
+Houston Police Department spokesman Fred King said Thomas was charged with carrying a weapon in a secured area of an airport. A conviction on the third-degree felony could get Thomas up to 10 years in jail and a $10,000 fine.
+The arrest comes after Thomas's arrest on Thursday in Houston for unpaid traffic tickets, KHOU-TV of Houston reported.  PRO FOOTBALL  Correction:  July 26, 1995, Wednesday
+A brief sports article on Saturday about the appeal of a lawsuit that charged discrimination against Bill Parcells, the former New York Giants football coach, misstated the year he resigned and misidentified the coach who replaced him. It was 1991, not after the 1992 season; the successor was Ray Handley, not Dan Reeves."
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+With so many enterprising bands cashing in on the styles and sounds of 'the 1980's' (a mythical new decade that bears little resemblance to those 10 years between 1979 and 1990), it makes sense that an enterprising band has found a way to cash in on the 1990's. And perhaps it's only fair that the band is Garbage, the unabashedly professional alt-rock act that released its self-titled first album in 1995.
+The group's fourth album, 'Bleed Like Me' (Geffen), makes an impressive debut at No.4 on this week's Billboard charts. And on Tuesday night the band celebrated with a packed concert at Hammerstein Ballroom.
+Of all the bands that prospered during that alt-rock heyday, perhaps none was colder than Garbage. The band is led by a well-connected industry pro (the producer-drummer Butch Vig), fueled by a snarling but precise guitar sound and fronted by a Scottish singer, Shirley Manson, who seems icy and tough even (or especially) when crawling on all fours or lying flat on her back -- two things she did during her appealingly feline performance on Tuesday.
+Back in the 90's, when moody irony was all the rage, Garbage seemed to epitomize an era. Even the band's name meant the opposite of what it said, and the band's biggest hit celebrated incongruity. In 'Only Happy When It Rains,' Ms. Manson sang, 'I feel happy when things are going wrong,' adding a beseeching refrain: 'Pour your misery down on me.' Ah, the 90's, a decade when a singer could order a mug (or is that a bath?) of misery without cracking a smile.
+Garbage's coldness and obsession with contradiction have aged less well than Ms. Manson herself. When it came time for the title track from 'Bleed Like Me,' the band traced out a subdued chord progression (a welcome change of pace), but the lyrics were pure caricature: five stanzas about an anorexic, a cross-dresser, a self-mutilator, a former drug addict and a karaoke barfly, respectively; it sounds like the treatment for the world's worst indie film.
+Near the end of the concert, the band played its current single, 'Why Do You Love Me?,' a loud, sketchy song that has some nice little details (including a lurching hard-rock riff that disappears as suddenly as it appears), plus a contrarian refrain ('Why do you love me/Why do you love me/Why do you love me/It's driving me crazy'). And fans could imagine themselves back in an alt-rock world where that was all you needed.
+ROCK REVIEW"
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+Some hot names for the new skiing and riding gear this season: Autodrive, Pilot, Freeglide, Super Light.
+Get the feeling somebody is trying to make the sport easier?
+You know what I say to that? Don't stop now. Give me more.
+This comes from someone, who when asked in school to name the three Americans with the greatest impact on the country, answered: Thomas Jefferson, Abraham Lincoln and Howard Head.
+When my teacher scoffed at the last name, I said, 'But we'd all still be on wood skis without Howard Head!' And, I'll add, on a recent visit to the Smithsonian Institution, I came upon an exhibit dedicated to Head. I felt like calling my teacher.
+Head engineered new ski materials, he said, because he was embarrassed by his own meager skiing abilities. The latest technologies, led by the shaped ski revolution and more flexible, snappy snowboards, are making all of us better, too.
+Here are some highlights of the best new snow-sliding playthings.
+Stand atop the oversized hump that makes up the driving platform at the core of the Dynastar Autodrive skis, and you will do more than look down on your friends. It has been named ski of the year in some industry magazines. Better than that, it is simply fun to try out a funky new mix of proven ski technologies.
+There is a rounded cap construction at the tip, which makes it easier to start turns, the high vertical mid-ski wall is for better grip and the floating mounting system is for midturn control -- it can shift on the ski as much as a quarter-inch.
+'I compare these skis to the oversized golf club revolution,' Charlie Adams, Dynastar's vice president of marketing, said. 'It's a high performance ski still accessible to the less-accomplished skier. Like oversized golf clubs, the pro will use them and the weekend player will use them.'
+The Dynastar Autodrive won one World Cup giant slalom race last year. Atomic, which has had an incredible run as the world's greatest racing ski, won all the others.
+'Now we want to convince people that we make more than race skis,' Atomic's Matt Miller said.
+Still, if it is sweeping giant slalom turns -- not to mention hard-snow grip and high-speed stability -- you seek, Atomic has a variety of skis for you, beginning with their top of the line Beta Race 10.22. The Atomic 9.20 is a lively compromise with a little more short-turn versatility. The Atomic 10.Ex is a new widebody ski for the thick stuff. The Beta Ride 9.22 Super Light is designed to be as it sounds, quick and light for shorter radius turns. As with most Atomic skis, be forward or beware.
+One other thing: Unlike most of the rest of the ski world, most Atomic's skis are not orange or yellow.
+The new K2 Modx Pro is a top-end, highly rated combination of power and flexibility. Its hard-snow colleague is the K2 Patriot GT6. Worthy rivals in the same category: Volkl's P40 Platinum Energy and its Vertigo G31, Salomon's X-Scream Series and Head's Cyber X80 Ti. In the more forgiving ski class: Rossignol's Cobra X 10.2 Suspension and Rebel X, Fischer DRS 104 Air Carbon Ti and Volant SuperKarve.
+You could call Salomon's Pilot integration system a major innovation of ski or of binding. Instead of affixing the binding with top-mounted screws, there are axles under the toe and heel placed entirely through the ski's sidewalls. Salomon's designers say this lets the binding rock without sitting on a rigid flat spot and allows the ski to flex more evenly.
+As for boots, please do not buy them as Christmas presents. Try a gift certificate. Boots must be tried on, and often fitted. Lange's RRS boot system is new, intended to reduce catastrophic knee injuries. Dalbello has its Stance Geometry System, intended for knock-kneed and bowlegged skiers. If you are buying children's boots, do not reach for the rear-entry boots even though they are slightly easier on and off. They make it too hard to lean forward, as all good skiers must.
+In snowboards, Burton's Troop is a new women's freestyle board designed for lightweight, aggressive riders. It comes in three sizes based on the rider's weight. Salomon's Fastback is an all-mountain board that includes an overall larger deck to accommodate riders with bigger feet. K2's Zeppelin has a new look with topcoat graphics and directional tip-and-tail shape.
+Then there's Salomon's Freeglide snowblades, smaller, narrow boards that the company said are to be used as a cross between aggressive skating -- isn't that hockey? -- snowboarding, skiing and 'launching a Patriot missile.' It is for terrain park riding, trail skating and something called 'extreme carving.'
+I don't know what that means. But it sounds fun. And I am certain Howard Head would love it.
+THE SKI REPORT"
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+As the Elbe River reached a record high level here today, about 30,000 residents were evacuated from their homes while volunteers stepped up efforts to protect centuries-old palaces and museums. But fears are mounting over the devastation that the river may still cause as it plows through northern Germany toward the North Sea.
+After a night in which much of the city was blacked out, Dresden woke to fresh flooding. The four bridges crossing the Elbe were closed to all traffic but fire trucks and police cars.
+The area beside the grandiose Semper Opera and the sprawling Zwinger Palace gallery was for the first time under water, which had mostly bubbled up through manholes. Four hospitals and several hotels were evacuated overnight.
+By early today, the Elbe's swirling brown waters had risen to 29.5 feet, 9 inches higher than the high of 28.75 feet recorded in 1845. 'The floodwaters are still rising, and at the moment it's impossible to say exactly how far it will go,' Mayor Ingolf Rossberg told reporters. He added that experts predicted that the river would crest at about 31.5 feet early Saturday.
+Across Central Europe, where at least 89 people have died as a result of the past week's flooding, cities and towns in Austria, the Czech Republic and Slovakia are beginning to measure the vast damage caused to homes, government buildings and factories.
+In Bratislava, the Slovak capital, the Danube River began receding from a 50-year high, while the authorities in Budapest were bracing for its swollen waters to reach the Hungarian capital this weekend.
+Chancellor Gerhard Schröder of Germany has called for a 'flood summit' in Berlin on Sunday. Leaders from Austria, the Czech Republic and Slovakia are expected to attend, as is Romano Prodi, the president of the European Commission, which has offered $63 million in emergency assistance to affected regions.
+Along the Elbe to the north of Dresden, flooding has already forced the evacuation of thousands of residents in some communities. Many have come to resemble ghost towns, with homes closed and shuttered, and sandbags piled up against doors. Even 100 miles to the north, in Dessau, the Elbe has already spilled out of its boundaries and flooded thousands of acres of land.
+Dessau, a rundown industrial town, is home to the Bauhaus, the landmark Modernist building designed by Walter Gropius in 1925 to house the famed avant-garde art and architecture school that was closed by the Nazis in 1933. Officials have moved an exhibit to higher floors, but there is a risk of damage to the building if the Elbe breaks its banks two miles away.
+Normally about 250 feet wide, the river is now a vast lake on the opposite side of Dessau. Volunteers worked feverishly today to fortify the dike protecting the town itself.
+At Dessau, the Elbe meets the smaller Mulde. On Thursday, the river breached a bank separating it from a manmade lake, which is now rising and threatening the industrial town of Bitterfeld, about 30 miles south of Dessau. Thousands of people have been evacuated from Bitterfeld, but the main fear is that the waters could reach a vast complex of chemical factories.
+The waters surged over the aging Spolana chemical factory in the Czech Republic this week, raising concerns about dioxin contamination. A company spokesman, Tomas Zikmund, said today that floods prevented his firm from checking whether the dioxin had leaked, but he said it was unlikely that the poisons had contaminated the river.
+'It can be supposed that dioxins did not get into the water because there was no stream of water running away from Spolana,' he said.
+In Bitterfeld today, the focus of prevention efforts was a low-level bank separating Lake Goitsche from the town. As trucks arrived in convoys with bags of sand, hundreds of volunteers worked under a fierce sun to build up the defenses. Dtelef Hübsch, drove 15 miles with his son, Christian, 18, to help out. 'People have come from all over the region,' he said, waving his muddy arms toward the crowds of volunteers. 'There is a lot of solidarity.'
+Birk Löwenberg, 28, who works for a wholesale food company in Halle, 25 miles to the west, stood beside a van in which he had brought food and drinks for the volunteers. 'We were called by a Protestant group and asked if were willing to do something for Germany,' he said. 'We agreed without hesitation.'
+The flooding in Germany has so far affected mainly regions of the former East Germany, still the poorest part of the republic. Unification in 1991 brought a sharp rise in unemployment as many government-owned factories were closed and as modernization drastically cut bloated staffs at others.
+Especially in the east, the flooding has become an electoral issue. The government of Mr. Schröder, who is seeking a new term in general elections next month, has offered the region hundreds of millions of dollars in aid and has promised to invest heavily in reconstruction.
+Katrin Schuchardt, a government railroad employee who drove a visitor past dozens of abandoned factories in Dessau, said her main worry was unemployment. The threat of flooding forced her to leave her home and move her family into her mother's third-floor apartment, but even with Mr. Schröder's pledging huge emergency assistance for flood victims, Mrs. Schuchardt said new jobs were the priority for the region."
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+LEAD: Rito Ocbian, his wife and their seven children gathered their meager belongings, including a squealing hog and three chickens, packed them in jute sacks and loaded them on a bamboo sled drawn by their water buffalo.
+Rito Ocbian, his wife and their seven children gathered their meager belongings, including a squealing hog and three chickens, packed them in jute sacks and loaded them on a bamboo sled drawn by their water buffalo.
+Then, along with their neighbors in the mountain village of Daluga, they trekked five miles down the winding road to the big town of Polangui, forming a caravan of refugees from search-and-destroy operations mounted by the Philippine armed forces.
+This latest military offensive is the biggest undertaken in Bicol, a peninsula that forms the southern tip of Luzon, the largest Philippine island.
+In September, Communist rebels bombed several bridges in the region, crippling transportation to and from Manila, 280 miles to the north. #3 Battalions of Rangers In response, the armed forces sent three battalions of elite army rangers and fresh supplies and equipment, including helicopter gunships.
+Several thousand troops are now conducting what the army calls 'sweeping operations,' fanning out into the hinterland villages in the provinces of Albay and Camarines Sur in pursuit of Communist guerrillas.
+As in a similar offensive taking place in Bulacan Province, just a few miles north of Manila, operations in Bicol appear to be part of a renewed effort by the armed forces' leadership to show it can use a mailed fist.
+In August, mutinous troops who were part of an aborted attempt to take over the Government accused President Corazon C. Aquino and the chief of staff, Gen. Fidel V. Ramos, of being too soft on the insurgents. Hundreds of Refugees
+The new operations have sent hundreds, perhaps thousands, of refugees like Mr. Ocbian, a 48-year-old farmer, streaming into crowded evacuation centers in the towns.
+But it is doubtful that these offensives will deal severe blows to a mobile and elusive guerrilla army that has flourished through 18 years.
+In private, senior military officers in Bicol acknowledge that their operations are intended more to calm the civilian population and demonstrate the army's strength rather than to rout insurgents.
+After the bridge bombings, local leaders had questioned the military's ability to deal with the rebels. The Naga Chamber of Commerce and Industry passed a resolution last week urging Mrs. Aquino to declare martial law in the area in view of 'the apparent helplessness of local civil and military authorities.' Insurgent Activities Increase
+The insurgents stepped up their activities after the unsuccessful coup. The national Communist leadership directed all its forces in the field to take advantage of the split in the forces.
+The Bicol guerrillas apparently blew up the bridges in response to that directive. But they also suffered an unintended backlash. Manila's press portrayed the bridge bombings as part of a rebel strategy to build a base in the peninsula.
+In Bicol, where blasted bridges have inconvenienced civilians, the lively local press has heaped criticism on the New People's Army, the Communist fighting force, and the Roman Catholic Church has done the same.
+As the insurgency continues to demonstrate its strength, local officials expressed frustration at the Government's inability to deal decisively with it.
+'In my honest opinion,' said Gov. Luis Villafuerte of Camarines Sur, 'the Government has no anti-insurgency program to speak of.'
+Mr. Villafuerte contends that the Government bureaucracy is too centralized in Manila and too inefficient to be able to deliver basic services to poor villages in the provinces. This lack of an effective Government presence is often cited as the reason rebels can so easily win adherents. One of the Poorest Regions
+Despite its rich volcanic soil and wealth of other resources, Bicol is one of the poorest regions in the Philippines. Government statistics show that 73 percent of its people live below the poverty line, with incomes under $110 a month.
+With a population of more than four million, Bicol has only 87 government physicians and 243 nurses. Many villages have no schools or roads.
+Conditions have been particularly oppressive in the last year, when farmers suffered two seasons of drought. In many areas, there has been no harvest in a year.
+'The people of Bicol are a very patient lot,' said Ernesto Verdadero, Mayor of the small, impoverished town of Milaor. 'They still believe that Mrs. Aquino can bring about a deliverance. But something must be done soonest or her popularity is not going to last.'"
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+Less than 24 hours after Pedro Martínez stood inside Shea Stadium for his introduction as the Mets' newest pitcher, he was on an island in the Caribbean Sea.
+He and several team executives, including General Manager Omar Minaya and Jeff Wilpon, the chief operating officer, hopped onto a private jet and flew to the Dominican Republic on Thursday night. Four hours, 1,600 miles and a change of climate later, Martínez was home.
+Because for Martínez, one news conference about joining the Mets for four years and $53 million was not enough. His agent, Fernando Cuza, scheduled a second announcement -- a midmorning event that was broadcast live in his home country -- which took place here Friday.
+'I wanted to let my people know, in my own words, what happened and let them appreciate my point of view,' Martínez said after the event was over.
+In a country where baseball is so integral to the culture, producing stars like Martínez and Sammy Sosa, Martínez's move to the Mets is big news. Martínez spends his off-season in a home he built in his old neighborhood outside Santo Domingo, and he has enormous numbers of fans in his home country. Several people flying from New York to Santo Domingo on Thursday night wore brand-new Mets caps and vowed to burn their Red Sox ones.
+On Friday, about 70 journalists and friends of Martínez gathered at the InterContinental Hotel to hear what Martínez had to say about his decision to switch teams and leagues. While waiting for his arrival, they drank piña coladas, rum punch and mimosas served by waiters, the scene set for the arrival of perhaps the country's most famous athlete. Eight television cameras were ready to roll.
+Elvira Trinidad, Martínez's public-relations manager, rushed to make three gigantic posters for the event. Each featured photos of Martínez as a member of the Red Sox, but Trinidad had designers digitally change the colors and logos on Martínez's cap and jersey to make it look as if he were dressed in Mets garb.
+On each photo were the words: Pedro es un Mets (Pedro is a Met), La Gran Manzana con Pedro Martínez (The Big Apple with Pedro Martínez) and El Nuevo Rey de New York (The New King of New York).
+'This is a very big thing around here,' Trinidad said with a dead-serious look.
+Martínez, looking tired, walked into the room dressed less formally than in his suit-and-tie ensemble from the day before. He wore a button-down shirt with the collar wide open, and his eyes were hidden behind wraparound Chanel sunglasses.
+He was introduced to the crowd as Pedro Jaime Martínez, 'the best pitcher in baseball' and 'the best of all time,' which elicited loud applause. Then Martínez pulled on a Mets jersey and a Mets hat, and reporters began asking questions.
+One asked how Martínez was going to deal with the pressures of playing in New York. 'How are you going to deal with entering the wolf's mouth?' the reporter said in Spanish.
+Martínez quickly responded in Spanish, switching to English only twice in the hourlong interview session: 'How am I going to deal with it? I'm going to go into the wolf's mouth and pull out his teeth!'
+Minaya, the only Hispanic general manager in the major leagues, answered questions in Spanish, too. He was born in the Dominican Republic but moved to Queens when he was 8.
+Now, he said to those gathered, he hoped the acquisition of Martínez would bring more Dominican fans and Dominican players to the Mets. Minaya said he felt it was his mission 'for Dominicans to impact society in a positive way' and to 'prove that Dominicans can do big things in a big city.'
+'When you see the numbers of the best baseball players, most are Dominicans,' he said. Then he laughed. 'Well, a lot are Dominicans.'
+To his left, Martínez -- who mentioned that he would love to share sancocho, a traditional Dominican meat soup, with fellow Dominicans in New York -- nodded vigorously.
+Several times, reporters asked whether Minaya was looking to acquire Sosa, whom the Chicago Cubs are looking to trade, or one of Martínez's former Red Sox teammates, Manny Ramirez, who is of Dominican descent. But when Minaya said he did not want to talk about which players he was considering, reporters huffed and threw up their hands in frustration.
+One yelled to a journalist about to ask the next question: 'Hey, ask Pedro about Sosa! Maybe he'll tell us!'
+Martínez also shied away from the question. But he did not mind criticizing the Red Sox for not signing their biggest players --like him or the free-agent catcher Jason Varitek, who Martínez said was 'the best catcher in the world.'
+'I don't understand what Boston is doing or what they are thinking,' he said, shaking his head. 'But I don't belong to Boston anymore.'
+He added: 'If I was offered $100 million to play with Boston and $1 million to play with Detroit, I would have picked Detroit. How they act answers a lot of questions for me.'
+Somebody asked if Martínez thought his criticisms of Babe Ruth had triggered the end of Boston's 86-year championship drought. 'No,' he said. Another asked if he would ever play for the Yankees, the team he called 'his daddy' earlier this year. 'No!' he answered.
+At times, when Minaya or Martínez's agent was speaking, Martínez grinned and widened his eyes as he made contact with someone at the back of the room. He was interacting with his girlfriend, Carolina Cruz, who works for ESPN in the Dominican Republic.
+She said that she and Martínez had been dating for four years but were not engaged.
+'So that's who you were making faces at,' Wilpon said to Martínez after the news conference ended. 'Aha!'
+Martínez smiled sheepishly as Wilpon said his goodbyes. They hugged as Wilpon said he was rushing to the airport to catch a plane to New York.
+Martínez said: 'You want to take my Ferrari? Take my Ferrari,' as he reached for the valet slip to his yellow sports car.
+When Wilpon declined, Martínez nodded.
+'Well, tell daddy I said hello,' Martínez said.
+'Which daddy of yours is that?' Wilpon said, smiling.
+'Your real daddy,' Martínez said, referring to Wilpon's father, Fred, the Mets' principal owner.
+They both laughed.
+A few minutes later, without any fanfare, Martínez and Cruz left the hotel and slid into the blindingly bright Ferrari, turning right onto a road that hugs the sea.
+BASEBALL"
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+This week's documentaries on Channel 13, though not up to ""A Baltic Requiem,"" shown last night, do offer variety.
+Tonight at 10 P.M., ""P.O.V.,"" the showcase for independent productions, presents three half-hour pieces, beginning with ""Twinsburg, Ohio: Some Kind of Weird Twin Thing."" It's a visit to the Midwestern town's celebration of Twins Days, which attracts 2,500 sets of look-alikes each year. The pictures of the congregated pairs of all ages, many dressed identically, are fun. (""I'm Alma. She's Wilma,"" announces a helpful T-shirt, the twin of which confirms that, yes, ""I'm Wilma. She's Alma."")
+But the young documentary maker, Sue Marcoux, gets bogged down in her sticky relationship with her own twin. If Ms. Marcoux can survive her self-searching phase, she seems capable of turning out lively work. The rest of tonight's 90 minutes, which can also be seen on Channel 49, is given to ""Marc and Ann,"" a report on a musical couple with an affection for Cajun life, and ""Plena,"" a tribute to Puerto Rico's version of the blues.
+At 12:30 A.M., insomniacs can tune to ""Czeslaw Milosz, the Poet Remembers,"" an hourlong review of the career of a writer who has come to personify resistance to totalitarianism, from Hitler to Stalin. Among those paying their respects are Zbigniew Brzezinski, Susan Sontag and Joseph Brodsky, a fellow Nobel laureate.
+Tomorrow at 8 P.M. (at 10 on Channel 21), David Frost talks with Margaret Thatcher, the former British Prime Minister. Their encounter was taped too late for previewing, but the press release promises that Mrs. Thatcher will discuss her relations with Ronald Reagan, George Bush and Mikhail S. Gorbachev. This is the final program of the first season of ""Talking With David Frost,"" which is to return in the fall with a full year of new monthly interviews.
+Mrs. Thatcher's in-view of history is followed at 9 P.M. (at 10 on Channel 49) by ""Out in America,"" a discussion of the situation of homosexuals in the United States, which begins with the proposition that discrimination against homosexuals can be discussed in the same terms as the afflictions of Europe's Jews and black Americans. The panelists, prodded along by Andrew Humm, who is co-host of ""Gay U.S.A.,"" a weekly program on the Gay Cable Network, include several homosexual-rights advocates and such dignitaries as Representative Craig Washington, Democrat of Texas; Rabbi Alexander Schindler, president of the Union of American Hebrew Congregations, and Justice Richard C. Failla of State Supreme Court in Manhattan. Everybody earns a medal for tolerance. No prizes, though, for enthralling television."
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+With talk shows becoming a dime a dozen these days, Paula Poundstone has come up with a format worth at least a silver dollar. As a stand-up comic, Ms. Poundstone has done the HBO circuit over the last few years, including her very own ""HBO Comedy Hour,"" a special called ""Cats, Cops and Stuff."" This month, she can be seen on four half-hour editions of ""The Paula Poundstone Show,"" being shown around midnight on Fridays, with several reruns each week. (A repeat of the premiere can be seen at 11 tonight.)
+Looking a bit like Geena Davis crossed with a youthful version of Julia Child, Ms. Poundstone gives the impression of being unusually tall -- maybe she is -- as she lurches onto a small stage dressed in boots, jeans, floppy shirt and perhaps a vest. Sidling up to a stool, she seems a bit shy, perhaps self-conscious about her height, but then wastes no time in demonstrating that despite the friendly manner (""You comfortable and everything?""), this is one sharp, not-to-be-meddled-with woman.
+After doing a riff on parents who go to the movies with teeny-tiny babies, she zeroes in on the concept of dysfunctional families. (""Does anyone know a functional family,"" she innocently wonders.) Then she announces: ""I don't have sex. There, it's been said. I don't like it.""
+And the show unfolds with more logic than might be initially apparent. Introducing a man who teaches a class in making out wills, Ms. Poundstone is soon writing away on a large blackboard, earnestly explaining how ""I always wanted to leave something to Mary Tyler Moore."" Then she confesses that she hates her entire family (""I thought I made that clear""), which provides a segue into her drawing a ""dysfunctional family tree."" Connections are eventually made.
+Shrewdly, the show is kept short and swift. Music is provided by Johnny Reno and his Mondo Combo. There is one choice music performance an edition: tonight's is provided by Clarence Fountain and the Five Blind Boys; the one on Friday will be by Pat Benatar. And the guests are hardly run-of-the-mill celebrity retreads. This evening's featured trio, all interviewed at the same time, includes a meter maid who insists that the public really loves her, a postal clerk fed up with changing $20 bills (""Apparently, this has been building up for quite a while,"" the host says to the exercised clerk) and a fish diver who's been bitten twice by great white sharks (""You must really want that abalone bad"").
+Show No. 2 offers an educational film strip entitled ""Preparing for a Nuclear War,"" in which the narrator soothingly advises that ""although it's unlikely that the blast will leave your head attached to your torso, sunblock may help."" The guest lineup includes a professor who propounds a theory about blowing up the moon (""It's worth it to jolt the earth a little bit""), the astronaut Scott Carpenter, who, recalling the wonders of space, attests that ""there are no atheists in orbit,"" and a cosmetologist who urges her clients to rub their hands together vigorously and then ""give your face a big hug.""
+Positively beaming, Ms. Poundstone wonders why ""I feel like I'm talking to the Tin Man, the Cowardly Lion and the Scarecrow."" She has every reason to smile. Her peculiar land of cable is every bit as weird and charmingly seductive as Oz."
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+""Titicut Follies"" finally makes it to television tonight, a quarter of a century overdue. Frederick Wiseman's remarkable first documentary, an unsparing visit to the Bridgewater State Hospital for the Criminally Insane, in Massachusetts, was banned by the state's Supreme Court on the grounds that it violated the privacy of inmates, several of whom were shown naked. The ban was finally overturned in 1991.
+Nakedness is an apt symbol for a work that bares the daily assaults of power against the powerless. Little physical brutality is shown at Bridgewater; maybe the staff was on its best behavior. The cruelty takes the form of verbal bullying by guards and the seeming indifference of doctors. Although Mr. Wiseman offers glimpses of affection by the warders for their wards, his camera mainly finds a dim hopelessness that infects everyone consigned to the place, whether as prisoner or caretaker.
+As in all his reports, Mr. Wiseman abjures narration. The pictures tell his stories, and he has never presented more powerful pictures. The 90-minute film opens and ends with a chorus line from what was evidently an annual show called ""The Titicut Follies."" You'll have to guess who among these costumed performers are inmates, who are guards. The stage, where odd behavior reigns, blurs the lines of sanity and confers an hour of equality.
+In the prison yard, the inmates drift within the solitary cells of their minds. Most are silent; one plays a slide trombone; a few rant unstoppably about religion or politics, spouting phrases that you might hear at a revivalist rally or a protest demonstration. One man outtalks the doctors with a fervent yet coherent plea to be sent back to an ordinary prison. Is the fact that he can't shut up a sign of mental illness or faith in his cause? Can he be right?
+Many of the encounters have an unsettling ambiguity. A psychiatrist with an accent that may remind you of a Sid Caesar takeoff questions an inmate about his sexual proclivities: ""What are you interested in, big breasts or small breasts?"" Is he working or just curious?
+The hardest scene to watch is of a forced feeding. The doctor smokes a cigarette as he inserts a long rubber tube into the patient's nostril and pours a liquid into a funnel; you want to call out to him to flick the lengthening ash onto the floor before it drops into the funnel. In an untypically overt directorial intrusion, this painful scene is intercut with glimpses of the patient's corpse being prepared for burial.
+Relief comes at a party put on by volunteers, women who bring a touch of ordinary life into these bleak precincts. Although the camera is directed mostly on the patients, the guards, too, can be seen as inmates. Nagging one of their naked wards into a rage, they are like adolescents picking on the weakest kid. Mr. Wiseman compels the viewer to ask what the institution or the society can expect from people who must or would take such a job.
+In the years since Mr. Wiseman made ""Titicut Follies,"" most of the nation's big mental institutions have been closed or cut back by court orders. How much this ostensible victory for civil liberties has helped the mentally ill remains in dispute. But it has unquestionably made things easier for documentarians in search of distressed and distressing subjects; they need only take their cameras onto the streets of any big city. Titicut Follies  PBS, tonight at 10 (Channel 13 in New York). Produced, directed and edited by Frederick Wiseman; photography by John Marshall. Distributed by Zipporah Films."
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+Quarterly sweeps and sociopaths. The two go together like, well, television entertainment and blatant exploitation.
+For the next few weeks, prime-time ratings will determine how much networks can charge advertisers in coming months. Competition heats up and among the more popular programming tactics called into play are the inevitable movies based on true crime stories. Once again, television will look under the rock of daily life in the nation and find all sorts of dreadful creatures scurrying underneath. Tops on the list this weekend are overprotective mothers and murderous sons.
+In the four-hour ""Stay the Night,"" being broadcast on ABC this Sunday and Monday at 9 P.M., a frantic mother watches helplessly as her teen-age son enters an affair with a much older woman and ends up murdering her husband and going to prison. That's Part 1; in Part 2, Mom sets out to get revenge. Over on CBS, in ""Honor Thy Mother,"" also Sunday at 9, a mother adamantly refuses to believe that her inheritance-greedy son, a college student, plotted a vicious attack that left her severely battered and her second husband dead. As it happens, the first movie takes place in Georgia, the second in North Carolina. No sleepy time down South these days, it seems.
+In ""Stay the Night,"" Mike Kettman Jr. (Morgan Weisser), good son of a tightly knit religious family, goes to a party and, spotting a sexy blonde wrapped around a high-school buddy, asks his girlfriend who the newcomer is. ""Mike,"" says the girlfriend impatiently, ""that's my mom."" Mike's hormones obviously go on full boil. And little wonder. The older woman, Jimmie Sue Finger, is played by the always extraordinary Barbara Hershey, who hits on a just-about-perfect combination of fragile innocence, diabolical calculation and baby-doll sluttishness.
+When sentimental and hopelessly smitten Mike, who looks like a very young Montgomery Clift, is later convicted of murder, he refuses to implicate Jimmie Sue. His mother, Blanche (Jane Alexander), devises a plan to win the other woman's friendship and possibly get information that might legally incriminate her. But upright Blanche soon finds herself being charmed by the uninhibited Jimmie Sue. In no time at all, the two chums are taking mambo lessons together. In prison, Mike whines to his mother: ""Why do you have to horn in on everything?"" Viewers might well ask at this point, ""What is this movie trying to say, and why are we watching it?"" Ms. Hershey, be assured, is reason enough.
+""Honor Thy Mother"" stars Sharon Gless as Bonnie Von Stein, whose son, Chris Pritchard (William McNamara), heavily into drugs and the controversial game Dungeons and Dragons, devises a murder plot that will leave his stepfather dead. The problem here is that none of the major participants are terribly interesting. Chris is merely an unbalanced flake. His mother is colorless, leaving Ms. Gless with little to do but look dourly troubled. Chris's friends Moog (Christian Hoff) and Neal (Paul Scherrer), the ones who carried out the crime, are only hazily sketched. And Chris's taciturn sister, Angela (Suzanne Ventulett), has to wait until the final scenes to make her modest contribution to the plot. Here's a drab rendering of a sorry story.
+The lesson from all this? Although both sons in these films seem to have had reasonably comfortable, if not pampered, existences, the mothers were apparently at fault for not giving them even more attention and love. As Mike the murderer touchingly puts it in ""Stay the Night,"" not once but twice, ""Gimme a hug."" Well, not just now, Bubba. 'Miss Rose White'  NBC Sunday at 9 P.M.
+New York, 1947. Rose White (Kyra Sedgwick) is the all-American fashionable girl, working her way up the merchandising ladder at Macy's. At the end of the week, though, on Fridays, she puts on a plain black dress and once again becomes Rayzel Weiss to light the Sabbath candles with her Polish relatives. Then her father, Mordechai (Maximilian Schell), announces that her long-lost sister, Lusia (Amanda Plummer), is leaving war-ravaged Europe for New York. She will have to live with Rose, who, in turn, will have to confront the family's troubled history and tough questions about her own identity. This ""Hallmark Hall of Fame"" presentation, based on Barbara Lebow's play ""A Shayna Maidel,"" is a touch too pat, but manages to hit its heart-warming target without doing damage to important issues. The fine cast also includes Maureen Stapleton, Penny Fuller and D. B. Sweeney. Ms. Plummer gets a great opportunity to shine, and she does, brilliantly. Occasionally, at least, sweeps can have their gentler moments. Stay the Night  Written by Dan Freudenberger; Harry Winer, director; Stan Margulies and J.C. Shardo, executive producers. A Stan Margulies Company production in association with New World Television. Sunday and Monday at 9 P.M. on ABC. Jimmie Sue Finger . . . Barbara Hershey Blanche Kettmann . . . Jane Alexander Mike Kettmann Jr. . . . Morgan Weisser Tom Charron . . . Matthew Posey George Malone . . . Fred Dalton Thompson Terry Finger . . . Scott Higgs Angela Finger . . . Judith Jones Mike Kettmann Sr. . . . Earl Hindman
+Honor Thy Mother  Written by Richard DeLong Adams and Robert L. Freedman; David Greene, director; Harvey Frand, producer; Dan Wigutow, executive producer. Based on the book ""Blood Games,"" by Jerry Bledsoe. Universal/MCA Television Productions in association with Point of View Productions. Sunday at 9 P.M. on CBS. Bonnie Von Stein . . . Sharon Gless Chris Pritchard . . . William McNamara Neal . . . Paul Scherrer Moog . . . Christian Hoff Brew . . . Jonathan Ward Angela Pritchard . . . Suzanne Ventulett Agent Reed . . . Dion Anderson"
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+For a poignant example from American history of best intentions' going awry, tune into tonight's offering from ""The American Experience,"" at 9 on Channels 13 and 49. ""In the White Man's Image"" looks back at the nation's effort to transform the American Indian into a white, Anglo-Saxon Protestant American.
+Richard Pratt, a Civil War veteran and Indian scout, showed untypical compassion for the Plains warriors who were being driven back by white settlers. Unlike the Westerners who held that the Cheyenne and the Sioux and the other peoples they encountered were irredeemable savages, that the only good Indian was a dead one, Pratt set out to assimilate Indian youths the way immigrants from Europe were presumably being assimilated in the late 19th century.
+Striking before-and-after photographs show the exterior transformations of boys and girls who were taken from the Dakota Territory and enrolled in Pratt's Carlisle School for Indian Children in Carlisle, Pa. Their hair was cut; they were given new names and dressed in uniforms; they were baptized. ""I felt I was no more Indian,"" one wrote, ""but would be an imitation of a white man.""
+In his determination to invest his students with the skills and attitudes to succeed in an industrial society -- a trade, work habits, ambition, individualism -- Pratt did not reckon with the strength of their attachment to the families and tribes from which they had been torn.
+Tonight's program suffers from melodramatic imagery and a sometimes superior, even smug narration at the expense of Pratt, an easy target in these multi-cultural times. It is strongest when it lets the story tell itself, in photographs and drawings from the period, and in the contributions of Prof. Henrietta Mann, a Cheyenne historian, and of Sid Byrd, who attended an Indian school in Nebraska. He remembers returning home, only to be devastated by the realization that he could no longer speak his grandmother's tongue.
+There were success stories, too, at least by Pratt's light. Enough youngsters learned a trade and moved into the larger society to make his principle of ""kill the Indian and save the man"" a national policy. But some who sought to become part of the new America encountered discrimination, and most of the graduates of the Indian schools that spread in the early 1900's returned to the poverty of the reservation.
+The well-meant social experiment, says the narrator, Stacy Keach, produced ""a generation of confused and lonely children."" In the 1930's, the effort at assimilation was given up, and a new set of reformers began to celebrate the values of tribal traditions.
+It is a cautionary hour. The people who wanted to turn Indians into Europeans called themselves friends of the Indian, and compared to other Americans, they were. But as the nation keeps learning, not all problems are susceptible to friendly feelings. 'The Secret Files Washington, Israel and the Gulf'  PBS Tonight at 10 P.M. on Channels 13 and 49 and at 11:30 on Channel 21
+A different sort of history lesson follows. ""The Secret Files: Washington, Israel and the Gulf"" gives the details of unpublicized agreements made by four Presidents -- Franklin D. Roosevelt, Harry S. Truman, Dwight D. Eisenhower and John F. Kennedy -- that committed the United States to the military support of Saudi Arabia and Israel.
+Benjamin C. Bradlee, the former editor of The Washington Post, narrates with jacket off, shirt sleeves rolled up and long red tie away from neck, as though he had just come from digging up the recently declassified materials on which the report is based. Perhaps the biggest revelation is that Truman forged a security relationship with King Ibn Saud that was carried out in 1963 when Kennedy sent fighter planes to protect the Saudis from Egypt's Gamal Abdel Nasser.
+Nothing here is likely to revolutionize interpretations of American diplomacy in the Middle East, which, as Mr. Bradlee puts it, amounted to trying to help the Arabs without hurting Israel. But the hour does spotlight Washington's difficulties in trying to insure the defense of two countries in conflict, until, for an hour, Saudi Arabia, Israel and the United States found themselves all more or less on the same side in the war against Iraq. Thank you, Saddam Hussein. The American Experience In The White Man's Image  A report written and produced by Christine Lesiak; Matthew L. Jones, co-producer; Alexandru Moscu, editor; Anna Romero, associate producer; a presentation of WGBH/ Boston, WNET/New York and KCET/Los Angeles; Judy Crichton, executive producer of ""The American Experience""; Stacy Keach, narrator. At 9 tonight on Channels 13 and 49."
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+Out of Thin Air The Brief Wonderful Life of Network News By Reuven Frank 415 pages. Simon & Schuster. $24.95.
+When NBC announced earlier this month that it had reached an agreement with PBS to combine staffs to cover the 1992 political conventions, Reuven Frank should have permitted himself a grin of satisfaction. He was in the right place at the right time again.
+As he points out in this mostly absorbing account of his remarkable career as producer and president of NBC News, exceptionally good timing has often served him well. Like the time he and David Brinkley were in Berlin, on their way to producing a special about life in Vienna, when they learned the Soviets had closed the border, and were in the process of building a wall.
+Now Mr. Frank's book, which emphasizes how NBC News established its reputation through its outstanding, distinctive coverage of political conventions, arrives precisely at the time NBC is announcing the legacy of that ground-breaking coverage: a deal with PBS.
+Not that Mr. Frank would disagree that conventions have become far less newsworthy than they used to be. He argues that in the 1970's conventions changed from being settings for political machinations, at which television cameras were unwelcome, to political coronations eager to use the networks as their free publicity vehicle.
+Mr. Frank even cites a prophecy of sorts: In 1972, the manager of one NBC station proposed that the networks no longer cover conventions and give PBS enough money to do it ""for those who cared.""
+The passage is typical of Mr. Frank's approach to telling this story: he is usually either wry or cranky. Both qualities are apparent in the book's portentous subtitle, which openly suggests that network news is not only no longer ""wonderful,"" but is in fact dead.
+That it was once wonderful for Mr. Frank certainly comes through clearly, though he is not writing an autobiography but an insider's history of network news.
+This approach can be refreshing, especially when compared with the egocentric memoirs of television news reporters who feel it necessary to describe their humble roots and how and why they covered the great events of our time.
+We learn nothing of Mr. Frank's roots, except that he was once the night city editor of The Newark Evening News. At times he mentions a wife and children, never by name.
+Still, the book is at its best when Mr. Frank allows himself to be personally involved, as in his description of the events that surrounded his award-winning 1962 documentary, ""The Tunnel,"" an as-it-happened filming of the escape of 59 East Berliners through a tunnel dug under the Berlin wall, which the American State Department tried to keep off the air for reasons about which Mr. Frank can still only speculate.
+Or his passionate retelling of NBC's coverage of the explosive 1968 Democratic Convention in Chicago, which brings back vividly a time when the cry ""the whole world is watching"" was believable, to the point where the White House began a campaign to undermine the impact of the network news divisions.
+In these two extended recollections, Mr. Frank's full voice comes through and the results are riveting. For the most part, however, Mr. Frank stays at a distance, doing his story and himself a bit of a disservice.
+He is commendably unself-congratulatory, pointing out his monumental mistakes -- like trying a rotating anchor system for the evening newscast in 1970 -- far more emphatically than his strokes of genius, as in the pairing of Chet Huntley with David Brinkley in 1956. (He does point out that it was he who, pressed for an ending to the telecast, typed out the phrases ""Good night, David,"" ""Good night, Chet."")
+But the events themselves are enough to reveal just how crucial a role he played in the development of network news. Mr. Frank was one of the broadcast journalism pioneers who made up the rule book of television news as they went along. As he points out, whenever he or his bitter CBS rivals (ABC is rarely a factor in his story of those years) made a decision on how to cover an event, a precedent was set.
+Certainly Mr. Frank and his NBC team helped make convention coverage the competitive watershed for network news. Mr. Frank tells several well-known stories from his own vantage point: the ousting of Walter Cronkite as CBS anchor in the 1964 convention after being ""clobbered"" in the ratings by Huntley and Brinkley; the forced ejection of John Chancellor from the convention floor the same year, when Republican security was trying to clear the floor of the press.
+But he also adds some moments we never saw: a sweet story of Hubert H.  Humphrey on the primary trail in 1960, worrying as much about his son getting cold as winning votes; a ""moment of terror"" in 1964 when Republican delegates shook their fists at the NBC booth in response to Dwight D. Eisenhower's denunciation of ""sensation-seeking columnists and commentators""; an embarrassing moment at the Democratic Convention the same year when he was compelled by his superiors to run home movies of the Lyndon B. Johnson family, including shots of Lynda Bird in her Doctor Dentons. As Mr. Frank puts it, ""Words cannot capture the banality.""
+Mr. Frank, though originally a print journalist, quickly concluded that television news is about pictures and thus fundamentally different. ""Seeing things happen, on the other hand, was knowing about them in a totally new dimension."" And he emphasized, as producer and president of NBC News, that pictures are what distinguish television news.
+Among many other things, he believes network news has lost that insight.
+The book suffers at times from Mr. Frank's offhand style of reminiscing. Some references are sloppy (he twice mentions an NBC reporter as ""McGee"" and only on third reference fills it out as Frank McGee). And Mr. Frank never sketches in any depth the now celebrated people he knew and worked with.
+We don't learn much about Mr. Huntley or Mr. Brinkley, or what he thought of them personally, except in occasional asides. The latter parts of his career are also far less compelling, especially a second tenure as president of NBC News, when things went far less well.
+But the book certainly recaptures what truly were the glory days of broadcast news and a time when life in America played out, in astonishingly exciting, occasionally chilling detail, on the television screen."
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+Nailing down any possible identity questions, Delta Burke is playing Delta Bishop in ""Delta,"" the new ABC comedy series having a preview at 9:30 tonight before settling into its regular Thursdays-at-8 slot.
+In recent years, Ms. Burke became a fixture in tabloids with problems ranging from public spats with her co-stars and producers on CBS's ""Designing Women"" to weight battles second in intensity and frustration only to Oprah Winfrey's. Now, in a brand-new blond coiffure, a blithely plump Ms. Burke stars as an aspiring country-western singer waiting on tables in a Nashville bar. This may not be her smartest career move.
+Married for eight years to a man less than enthusiastic about her singing, Delta Bishop decides to head for Nashville and move in with her always cheerful and supportive cousin Lavonne (Gigi Rice). Delta rushes over to the Green Lantern bar, where Patsy Cline supposedly once sang, and persuades the new owner, Darden (Earl Holliman), to give her a waitress job and an opportunity to perform on amateur nights. Also in the show's core group are Connie (Nancy Giles), a sassy waitress from Detroit who professes to loathe the South, and Thelma (Beth Grant), a sarcastic hairdresser who believes that house calls are beneath her.
+Delta is apparently supposed to be feisty, but Ms. Burke goes for a fierce determination that usually ends up far less cute than presumably intended. Tonight Delta does get a chance to sing, miscalculating with a slow ballad but quickly recouping with ""something a little happier"": ""Blue Moon of Kentucky."" A star is born? Maybe. On Thursday, much to Darden's displeasure, Delta relentlessly pursues a customer who happens to be a big recording producer. The man finds her behavior genuinely objectionable. So, I suspect, will a good many television viewers.
+Carefully lighted and dressed, Ms. Burke tries hard, too hard. The show's opening theme, ""Climb That Mountain High,"" is sung quite nicely by Reba McEntire. Delta  ABC, 9:30 tonight Produced by Jay Kleckner and Lisa Albert; written by Eric Horsted; Cassandra Clark and Debbie Pearl, co-producers; Shari Tavey, associate producer; Robin Schiff, creative consultant; a Bungalow 78 and Perseverance co-production in association with Universal Television; Delta Burke, Miriam Trogden and Ken Estin, co-executive producers; Barry Kemp, executive producer. Delta Bishop . . . Delta Burke Darden Towe . . . Earl Holliman Lavonne Overton . . . Gigi Rice Thelma Wainwright . . . Beth Grant Connie Moore . . . Nancy Giles Buck Overton . . . Bill Engvall Charlie Bishop . . . Kevin Scannell Andrew . . . Tim Choate Hoyt . . . John Voldstad Dr. Foster . . . Bruce E. Morrow"
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+In these multi-cultural times, it may not come as unadulterated praise to credit someone with defining America's vision of the Old West, but ""Frederic Remington: The Truth of Other Days"" illuminates the artist's achievement without subjecting it to a test for political correctness. Setting Remington's paintings and sculptures against his own words, crisply delivered by Ned Beatty, the hourlong ""American Masters"" documentary, tonight at 9 on Channel 13, shows and tells how the Easterner helped create a Western myth that has not yet lost its power.
+Although Gregory Peck's narration seems on the point of expiring with every slow breath, the dramatic depictions of cowboys and Indians, cavalrymen and horses make a spirited hour. Hundreds of them appeared in magazines that were just beginning to find a mass audience in the second half of the 19th century, a success that may have led some critics to shrug off Remington as a mere illustrator. No attempt is made in the program to establish his place in American art; the emphasis is on the message of his work, which is presented as a kind of rudimentary Darwinism.
+His portraits of Indians are no less heroic than those of cowboys (see his painting of a Crow facing death, ""Ridden Down""), but he mocked those he called ""the friends of the Indian."" He saw and painted the Indian as ""a worthy adversary"" but also as ""a strange primitive."" Attracted always to rugged types and physical action, he appreciated the nobility in the Indians' struggle for survival, but his perspective was that of the white settlers; to him, as one of the evening's Remingtonians sums up, the fight was for land, and the fittest would survive.
+Although he worked when the frontier was already giving way to the railroad, in his words to ""brick buildings, derby hats and blue overalls,"" he drew men and horses in desperate action -- as in ""A Dash for the Timber."" The drawings came at least as much from his imagination as from reality; one observer calls his technique ""supercharged realism."" Yet he prided himself on the accuracy of his draftsmanship. ""I am the first man who does horse action as it really is,"" he said, and viewers caught by the energy of his paintings and sculptures like ""The Bronco Buster"" will not be quick to call it merely a boast.
+He was largely self-taught, and toward the end of his career he was still struggling with the treatment of moonlight and firelight. ""I have to find out once and for all if I can paint,"" he said three years before his death at the age of 48. But he made no apologies for his lifelong emphasis on subject matter, the main attraction of his work for his many admirers.
+Whatever Remington's standing among critics, his impact down the decades comes through strikingly in scenes from John Ford's fine cavalry movie, ""She Wore a Yellow Ribbon,"" which drew faithfully not only on the artist's depictions of cavalry life but on his use of color and composition. Attention is drawn especially to the way the massed figures move on both canvas and screen, from upper right to lower left. Big men in a landscape of big nature was a steady theme of both the movie maker and the painter.
+""There are no cowboys any more,"" Remington wrote late in his short, prolific life. Yet he was as responsible as anyone for making sure they would live on in America's consciousness."
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+Women and Men 2,"" Sunday at 9 P.M. on HBO, is viewer friendly. By far the best of these dramatizations of three short stories comes first, leaving about an hour free for a good book. The offering in last year's tribute to 20th-century American writers consisted of works by Ernest Hemingway, Mary McCarthy and Dorothy Parker. Tonight brings Irwin Shaw, Carson McCullers and Henry Miller.
+""Return to Kansas City,"" punchily adapted and directed by Walter Bernstein, is based on Shaw's tightly wrought story of a boxer (Matt Dillon) who is under pressure from his wife (Kyra Sedgwick) to go for the big fight and the big money before he feels ready. She wants the cash so she can take the baby to visit the folks back in Kansas City.
+The simple plot is deepened by the performances. Mr. Dillon's boxer, Eddie Megeffin, is shadowed even in victory by premonitions of defeat. He knows the smart way to handle his career is to move up slowly and avoid being overmatched, but in bedroom encounters he is at the mercy of his sexy wife, Arlene. In Ms. Sedgwick's performance, honest, affectionate and tough Arlene leaves no doubt that her body is enough to subdue many men's good sense.
+Mr. Bernstein's knowingly dated script (""Fighting Joe Patrick is a one-way ticket to the hospital"") fits snugly with the feel of apartment life in New York City in the Depression years. Arlene complains that a neighbor ""can hear me reading the newspaper."" Among the tunes coming over the old Zenith radio: ""In the Still of the Night,"" ""Date With an Angel"" and ""He Loves and She Loves."" Eddie loves and Arlene loves, but the quick, powerful end of ""Return to Kansas City"" strikes a knockout blow at romance.
+It's not a good night for wives. In the Carson McCullers story, ""A Domestic Dilemma,"" Andie MacDowell plays Emily, who spends her days in suburbia sipping or gulping sherry. Her husband, Martin (Ray Liotta), is too worried about the safety of their two young children to concentrate on his job at the advertising agency. ""Will we ever be as we were before?"" she asks plaintively. Depressing as it is to report, Emily seems to be competing with the cute kids for Martin's attention. Bring out the sherry.
+But if it's unadulterated dolor you're after, hang in for the last story, ""Mara,"" a vague dramatization of Miller's ""Mara-Marignan."" Mara (Juliette Binoche) is a sensational-looking Parisian prostitute in a very short skirt who, despite appearances, can't seem to make a success of her career. She is saved from some trouble with the other girls on the corner by Henry (Scott Glenn), a writer. Henry is carrying a torch; Mara is carrying the weight of the world. Soon she is telling him in a busy brasserie: ""I'm no whore. I'm not cut out for this. I'm pure gold."" Then it's passion in an alley. ""More, more, more,"" pants Mara. Their night's encounter, stuffed with moody looks, murky dialogue and muddy sentimentality, is pure saucisson. Women and Men 2
+RETURN TO KANSAS CITY, starring Matt Dillon and Kyra Sedgwick; written and directed by Walter Bernstein, adapted from a story by Irwin Shaw; produced by David Brown and William S. Gilmore.
+A DOMESTIC DILEMMA, starring Ray Liotta and Andie MacDowell; directed by Kristi Zea; adapted by Robert Breslo from a story by Carson McCullers; produced by Jonathan Demme.
+MARA, starring Scott Glenn and Juliette Binoche; written and directed by Mike Figgis, adapted from a story by Henry Miller; produced by David Brown and William S. Gilmore. Sunday night at 9 on HBO."
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+Back for a third season, its formula more finely tuned than ever, NBC's ""Law and Order"" gets involved in an incendiary case tonight and then, quite uncharacteristically, does a cop-out.
+Filmed in New York City, each hourlong episode in the series is just about equally divided between a police precinct, from where detectives track down the perps, and criminal court, where assistant D.A.'s prosecute them. Most prominent in the police contingent are the detectives Phil Ceretta (Paul Sorvino), soon to be replaced by Jerry Orbach as Lennie Briscoe, and Mike Logan (Christopher Noth). Their boss is Precinct Capt. Donald Cragen (Dann Florek). The Assistant D.A.'s are Ben Stone (Michael Moriarty) and Paul Robinette (Richard Brooks), overseen by District Attorney Adam Schiff (Steven Hill).
+If the fictional scripts don't roll directly off real headlines, they certainly retain enough details of resemblance to be more than coincidental. More to the point, perhaps, the writing for the show is sharp, lean and obviously well researched. Add a cast that has evolved into a confident repertory company, and ""Law and Order"" is among television's top drama series. It deserves better than to be scheduled against ABC's ""Civil Wars,"" another series in the same class. Little wonder that weekly television dramas are so often perceived to be an endangered species.
+Created by Dick Wolf, an executive producer of the show, ""Law and Order"" has the good sense to back up its regular cast with strong guest stars. Tonight's remarkably strong lineup includes Joe Morton, Gloria Foster and Eric Bogosian. Their riveting performances make the ultimate fudging of the plot all the more regrettable.
+The episode opens with the killing of a black leader at a public rally. Reverberations of the Malcolm X story are no doubt intentional. The top suspect turns out to be a white man (Jeff Gendelman), a teacher seen fleeing the scene. His former wife (Cynthia Martells), whom he keeps pursuing, is black and was having an affair with the murdered leader, known for his womanizing. The dead man's wife (Ms. Foster), who was standing near him at the rally, identifies the teacher. The police detectives believe they have their man.
+Moving to court, the teacher is represented by Gary Lowenthal (Mr. Bogosian), an abrasive type who will pull anything to plant seeds of doubt in the minds of jurors. The trial turns ugly. One black spectator shouts, ""That damned Jew killed Marcus and now a Jew lawyer is going to let him walk!"" One of the dead man's top aides (Mr. Morton) warns, ""That man gets off, and the Los Angeles riots will look like a pillow fight.""
+A verdict is delivered, but even for Stone and Robinette, the case is probably not solved. It begins to look as if the killing may have been carried out by someone inside the black organization, perhaps the jealous wife or a lieutenant demanding more militancy.
+The payoff in ""Law and Order,"" and shows like it, is nearly always an ending that does not leave the audience hanging. Yes, life does not work that way, but that's precisely why fiction can be so seductive. When ""Law and Order"" skillfully concocts a plot that exploits sensitive issues and powerful emotions, it just won't do to fade out with a shrug. ""Who did it?"" someone asks. ""Hell,"" comes the answer, ""blame it on the C.I.A.""
+Or on a story-conference miscalculation. Law and Order  NBC, tonight at 10. (Channel 4 in New York) Produced by Wolf Films in association with Universal Television; Robert Nathan, Jeffrey Hayes, producers; Michael Chernuchin and Arthur Forney, co-producers; Gus Makris, director of photography; Rene Balcer, story editor; Michael Struk and Bill Fordes, technical advisers; Walton Green, co-executive producer; Dick Wolf and Joseph Stern, executive producers. WITH: Michael Moriarty, Paul Sorvino, Christopher Noth, Richard Brooks, Dann Florek, Steven Hill, Carolyn McCormick."
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+The prospect of a television retrospective is usually about as inviting as a banquet of warmed-over fast food. But occasionally the distinction is merited, and such an occasion is at hand. Inspired by a retrospective of Ken Burns's work at the Walker Art Museum in Minneapolis, PBS is bringing back four early documentaries by the creator of ""The Civil War."" The first, his 1985 hourlong program ""The Shakers: Hands to Work, Hearts to God,"" can be seen tonight at 10 on Channel 13 and is very much worth a second, or first, look.
+""The Shakers"" displays many of the elements that would make ""The Civil War"" so accomplished and rewarding a series. There is the mastery of the camera in bringing the past to life by the graceful merging of grainy old stills and carefully framed new pictures; the use of diaries, letters and music to evoke the feelings of another time; the well-edited interviews and straightforward narration (delivered as usual by David McCullough), and, most affecting, the respect and affection for America's past.
+The Shakers, officially, the United Society of Believers in Christ's Second Coming, arrived in America from England shortly before the American Revolution. Thousands were attracted to the sect during revivalist and utopian enthusiasms of the 19th century, but the 20th century brought dissolution as young people were lured away by new opportunities and pleasures. Today the sect has fewer than 100 members, all in Maine and New Hampshire. Three of them, looking as though they had stepped out of century-old daguerreotypes, speak and sing for the camera.
+For fanciers of Americana, the Shakers, who owed the name to their impulsive tremblings during worship, are remembered mainly for their houses and furniture. (Toward the end of the hour, you can see a Shaker chair auctioned off for $1,000.) The exquisite spareness of their work was meant to manifest the spirit of their lives. Bound to simplicity and celibacy, they channeled their creative impulses into artifacts, which in tonight's glowing photographs should enable even skeptics to see what the Shakers meant when they said God dwelt in details. They prized the practical and shunned the merely ornamental. ""Order,"" they held, ""is heaven's first law.""
+The program notes that the Shakers were not universally admired in their time. James Fenimore Cooper wrote of their ""fanaticism and folly"" and Nathaniel Hawthorne found them appealing yet slightly ridiculous. The communitarianism, the celibacy, the frenzied dancing made them seem strange, and like other sects, they found themselves periodically persecuted.
+Today they seem, at worst, to be the mildest of eccentrics, who sought only peaceful isolation and still have things to teach. In a particularly lovely scene, an elderly woman, in black against a white wall, performs a ritualized version of a Shaker dance that expresses the severe simplicity of her faith. Another sings the hour's theme: ""I will bow to be simple/I will bow to be free.""
+In coming months, viewers will be offered three other memorable Ken Burns documentaries: ""Brooklyn Bridge"" (1982), ""The Statue of Liberty"" (1985) and ""Huey Long"" (1985). Like the products of the Shakers at their best, they evidence a dedication, honesty and conviction that come together as a form of faith. The Shakers Hands to Work, Hearts to God  Directed by Ken Burns; written by Mr. Burns and Amy Stechler Burns; David McCullough, narrator. At 10 tonight on Channel 13. With the voices of Julie Harris, Paul Roebling, Olga Bellin and others."
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+The American Film Institute is bestowing still another Life Achievement Award, its 20th, and that means still another prime-time television special, taped at the unfailingly elegant awards ceremony in Hollywood. Standing ovations, speeches of tribute, biography mixed with film clips: the format never varies. But tomorrow night's ""A.F.I. Salute to Sidney Poitier,"" on NBC at 9:30, has a broader significance than most. Suffusing the usual glitter is the troubling issue of race and racism in Hollywood, indeed in America.
+Beyond being a distinguished actor, Mr. Poitier is a powerful symbol. That's made clear at the outset when Denzel Washington recalls meeting him at a bookstore on Wilshire Boulevard in 1977. Mr. Washington was just getting started as an actor. Mr. Poitier graciously gave him his time and attention. Looking at the table of honor now, Mr. Washington says simply: ""I love you. I respect you. I imitate you.""
+That's the note inevitably struck by the younger black actors now working in film, from Danny Glover, who praises ""the first African-American man to be accepted as a universal figure on screens around the world,"" to Morgan Freeman and the new director John Singleton (""Boyz N the Hood""). In his quiet way, rarely confrontational, Mr. Poitier toppled barriers. A good many exist to this day, but none is quite as formidable as when he started out.
+Mr. Poitier, born in Miami in 1924 and reared in the Bahamas, moved to New York when he was 16 years old, and began working with the American Negro Theater a few years later. His friend Harry Belafonte, who is the host for the salute, recalls that at the time, he was an assistant janitor and Mr. Poitier was a dishwasher. They were both 19. In 1950, Mr. Poitier got his break in a small but prominent role in the film ""No Way Out"" with Richard Widmark.
+Subsequent work proved spotty but often choice: ""Blackboard Jungle"" (1955); ""The Defiant Ones"" (1958); ""A Raisin in the Sun"" (1961); ""Lilies of the Field"" (1963), for which Mr. Poitier won an Oscar for best actor, the first ever in that category for a black; and then ""In the Heat of the Night,"" ""To Sir, With Love"" and ""Guess Who's Coming to Dinner?"" (all 1967). Mr. Poitier has also directed such films as ""Uptown Saturday Night"" (1974) and ""Stir Crazy"" (1980). Last year, he portrayed the former Supreme Court Justice Thurgood Marshall in the acclaimed television film ""Separate but Equal.""
+In his A.F.I. acceptance speech, he thanks everybody from his parents to an old Jewish waiter who long ago helped him with his reading. He also ticks off, pointedly, the names of Alice Childress, Canada Lee, Jackie Robinson and Lorraine Hansberry. Fittingly enough, sitting at one of the tables and getting the loudest applause -- and a kiss from the star -- is Rosa Parks, the woman who entered the history books back in 1955 when she refused to sit in the back of a Montgomery, Ala., bus.  'Clarissa'  PBS Sunday at 9 P.M.
+Running to seven volumes and, according to Alistair Cooke, one million words, Samuel Richardson's 18th-century epistolary novel has been reduced by the BBC to three juicy hour-long episodes perfect for ""Masterpiece Theater."" Clarissa, a very virtuous heiress, finds herself lusted after by Robert Lovelace, an incorrigible rake. She resists, but he won't take no for an answer, triggering a plot that involves, for starters, abduction, fraud, prostitution and rape. But (shades of ""Dangerous Liaisons"") everyone wears incredibly lavish costumes and, with the exception of poor Clarissa, manages to maintain a magnificent hauteur while behaving abominably. The newcomers Saskia Wickham and Sean Bean are just fine in the lead roles. A.F.I. Salute to Sidney Poitier George Stevens Jr., producer and founding director of the American Film Institute; Caroline Stevens, co-producer; Allan Kartun, director; Michael B. Seligman, associate producer; Elvis Mitchell, writer. Tomorrow night at 9:30 on NBC."
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+French Classic on Tape
+Commercials on videos are generally confined to hit movies like ""Indiana Jones and the Last Crusade"" (Diet Coke), ""Rain Man"" (Buick) and ""Top Gun"" (Pepsi). The hugely successful ""Home Alone"" reportedly will be released by Fox Video this summer with a commercial message from a corporate sponsor. But what about a commercial on a 46-year-old black-and-white French film with subtitles?
+Later this year, Home Vision, a Chicago distributor of arts titles, plans to release for the first time on video ""Les Enfants du Paradis"" (""Children of Paradise""), Marcel Carne's picaresque classic about the lives and passions of a troupe of street performers in 19th-century Paris.
+Like Fox Video, Home Vision has been looking for a company to sponsor its movie on both TV and video -- under certain conditions. A sponsor of ""Les Enfants"" would get a discreet mention before and after the film. ""We are also certainly open to discussing an appropriate commercial,"" says Christine Lundberg, a vice president of Home Vision.
+The French Academy of Cinema Arts and Techniques has named ""Les Enfants"" the finest French sound film of all time. ""We're told it's the most-requested foreign film not yet on video,"" Ms. Lundberg says. But that kind of enticement has not yet produced a sponsor, most of whom want to know how many viewers will see their messages. ""I tell them that it's a qualitative investment, not a quantitative one,"" Miss Lundberg says. Home Vision, she adds, plans to release the video with or without a sponsor. Adventures in Space
+The stars and planets figure prominently on two new videos, both of them boxed sets. One is PBS Home Video's six-tape set ""The Astronomers,"" the PBS television series that begins on Monday. The price is $129.95. Not every video store carries PBS Home Video titles. To find the store nearest you, call 800-776-8300. (Remember, too, that PBS shows are released by many other distributors, not just PBS Home Video.)
+The second release dates back to the 1930's and to the fictional exploits of the intrepid space adventurer Flash Gordon. When Earth and its people were faced with otherwordly threats like heat projectiles, or the destruction of the atmosphere by nitron lamp, or a death dust that killed only people of high intelligence, the threat invariably led Flash and his friends to the planet Mongo and its leader, Ming the Merciless. Now available is a four-cassette version of the Flash Gordon serials, starring Buster Crabbe. The set, distributed by Questar, runs a total of about six hours and costs $89.95."
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+How do he and she annoy each other? ""48 Hours"" counts the ways. Some of the situations reported tonight in ""For Better, for Worse,"" a two-hour special about marriage and divorce American style, are sad. But the program (at 9 on CBS), which seems like the fruit of a marriage of real-life soap opera and ""Saturday Night Live,"" produces more laughs than tears.
+In bouncy ""48 Hours"" style, the camera pops in on prenuptial negotiations between a pair of affianced M.B.A.'s; a conversation with a wife and husband who are trying to stop hating each other; a household with six children, three belonging to her, three to him; the living arrangements of a couple who have not been on speaking terms for two years as they wait for the courts to decide who gets what; a group of fathers in Georgia whose former wives have taken their children to distant parts; a meeting in a coffee shop where a woman tells her boyfriend she has learned he is married, and more.
+For the people involved, there is nothing humorous about the busted relationships and messy consequences in a society where more than half of all marriages and remarriages do not last. A lawyer is seen cautioning a client, ""As much in love as you are today, that's as much out of love as you may be tomorrow.""
+But it is hard to restrain a chuckle or even a guffaw watching two financial advisers who are not yet married dickering over who will get what in case of divorce. What percentage, for example, will she have of his future business if it ever earns anything? ""I thought at some point your interest will max out,"" he says. Could Woody Allen have invented this?
+And how about that couple in the throes of divorce who have been living on separate floors of a house for two years, without speaking. The husband had the sense not to speak to ""48 Hours"" either; the wife spoke, the ultimate revenge. She tells how he hid the Cuisinart every time she put it on his kitchen counter. So she hid the coffee grinder.
+The evening's best punch line comes when that woman in the coffee shop tells the boyfriend she used a private detective to discover he is married, not widowed as represented. His response: ""I'm shocked.""
+There is even an element of parody in the segment ""Fathers Are Parents Too,"" about several men who have bonded to protest the loss of their children after divorce. In a version of stick-a-mike-in-the-mouth-of-the-victim journalism, the ""48 Hours"" reporter Bernard Goldberg keeps inquiring, ""What was it like when you lost this child?"" The camera waits for tears to develop.
+The cheery news here is that one person's problem is another's prosperity. Marriage counselors, psychologists, therapists and other entrepreneurs, not counting television producers, are making comfortable careers out of marital discord. Lawyers, of course, are doing best of all. ""Divorce is bigger than it used to be,"" says a specialist who charges $375 an hour for his services. The lawyer who is handling the prenuptial negotiations recommends that everyone have such an agreement. Surprise!
+Marital disarray is even providing foreign aid to one of the good neighbors to the south. For $2,500 to $5,000 and a short stay in the Dominican Republic, you can recapture single bliss by hiring a lawyer known as ""Dr. Divorce,"" the fastest legal gun in the Western Hemisphere. The whole process, including a 75-second appearance before a judge (the camera is allowed into the courtroom), takes just 48 hours. 48 Hours For Better, for Worse Al Briganti, senior producer; Andrew Heyward, executive producer. At 9 tonight on CBS.
+REVIEW/TELEVISION"
+False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,True,True,False,False,True,True,True,False,False,False,True,True,False,True,False,False,False,False,False,False,False,True,False,True,False,True,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,True,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,True,True,True,False,True,False,False,False,False,False,True,False,False,False,True,True,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; From Illusion to Knowledge to Church
+It's a heady few days for Channel 13, as the station moves in a sort of theological ascent from tonight's program on imagination to tomorrow's on knowledge to Friday's on faith.
+""Masters of Illusion,"" at 10:30 tonight, is a fast and fascinating look at the development of perspective by such Renaissance masters as Piero Della Francesca and Leonardo da Vinci, Michelangelo and Raphael, Uccello and Mantegna. To James Burke's illuminating narrative, the camera shows off such tricks of the eye as vanishing points and explores the uses of light and shade and point of view that transformed the history of painting.
+Speaking of point of view, a Mantegna exhibition is even now at the Metropolitan Museum of Art. This half hour, produced by the National Gallery of Art, should add to visitors' pleasure the kick of recognizing how they are being fooled. 'Memory and Imagination: New Pathways to the Library of Congress'  Channel 13 Tomorrow at 10 P.M.
+""Memory and Imagination: New Pathways to the Library of Congress,"" at 10 P.M. tomorrow, is an awe-inspiring tour through America's great repository of everything worth repositing, from documents of the Founding Fathers, to maps (four million of them), to musical scores, to carefully preserved movie negatives and much, much more.
+Particular attention is paid to the use of computers in making the material easier to get at. Among the personages delivering testimonials to this inestimably valuable institution are Henry Steele Commager, Julia Child, Ted Koppel, Francis Ford Coppola and Penn and Teller, who are seen doing some research on Houdini. 'Rainbow in the Clouds'  Channel 13 Friday at 9 P.M.
+Glide Memorial Church in San Francisco is not up there on the tourist itinerary with the Library of Congress or the Metropolitan Museum, but Maya Angelou makes quite a case for its significance on Friday night at 9. ""Rainbow in the Clouds"" is a celebration of the church, which is in San Francisco's Tenderloin district, and of its leading spirit, the engaging Rev. Cecil Williams, who has carried his gospel into the streets.
+Framed by a spirited Sunday morning service, to which Ms. Angelou contributes, the hour includes interviews with several parishioners who tell of their redemption, and shows the congregation in action, marching against drug peddlers and delivering food, clothes and less tangible goods to those whom Mr. Williams calls the city's losers. Masters of Illusion  Directed and produced by Rick Harper for Harper Films in association with the National Gallery of Art; Joseph J. Krakora, executive producer; James Burke, host. At 10:30 tonight on Channel 13."
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+You don't have to have a child in a day-care center to be pained by some of the scenes in tonight's edition of ""Prime Time Live,"" at 10 on ABC . Using hidden cameras, the program's producers caught the goings-on at three centers in the New Orleans area to which middle-class parents entrusted their babies and preschoolers. In one, the children are shown being cared for, played with, hugged. In the other two, the pictures show confusion, sloppiness, inattention and, in one instance, a sharp smack to a baby's face.
+Diane Sawyer reports finding similar scenes around the country during a three-and-a-half-month investigation: ""Children running wild, screaming all day long. Children who weren't fed. Children playing on filthy floors amid dirty diaper pails. Broken cribs. Unsafe changing tables. Children who stayed in cribs all day long, no adults to play with them.""
+For $45 to $65 a week, the children seem to be getting as much carelessness as care. In one center, the camera focuses on a year-old boy named Patrick. Ms. Sawyer says he wandered around, unnoticed, all morning: ""He never got a bottle, he never got a meal."" What he did manage to get was a lighted match.
+Pictures of children confined in car seats all day, a child sitting in his own vomit and the boy with the lighted match are shown to Steve Phillips, the head of day-care licensing for Louisiana. ""That's terrible,"" he says. ""That's not good."" He regrets that inspectors can't be everywhere all the time. He confirms that these are Class A centers, which receive Federal funds, and are better inspected than other centers. Although tonight's program does not go deeply into public policy, it leaves the impression that the United States is not a world leader in day care.
+Three child-care experts invited to look at the pictures are plainly appalled. ""They're giving children psychological thalidomide,"" says Dr. Edward Zigler of Yale University. But the most affecting reactions come from Debra and Ed Onnebane, who placed their 5-month-old son in one of the centers exposed here. One woman was assigned to watch over 17 children, some of whom sat in high chairs for as long as 90 minutes with nothing to do. Mr. Onnebane says he hoped little Adam would be smiling all day long; in fact, Adam wound up crying most of the time.
+Reacting to the picture of the baby being slapped, Mr. Onnebane says, ""It makes me furious."" A lot of other people will probably be made furious tonight."
+False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,True,False,False,True,True,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,True,True,False,True,False,False,False,True,False,True,True,False,False,False,True,True,True,False,False,False,True,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,True,True,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; A Very Different Oscars Broadcast
+""Young, beautiful and talented -- a winning combination in any league: Daryl Hannah!"" exclaimed the off-camera announcer at Monday night's 64th annual Academy Awards presentation. ""Everybody's definition of class: Academy Award winner Audrey Hepburn!"" ""Three of Hollywood's most respected citizens: Steven Spielberg, George Lucas and Geena Davis!"" Apparently nobody had notified the announcer, who provided virtually the only touches of old-style Hollywood hokum, that the game would be played a little differently this time.
+Jack Palance: that's the short answer to what made Monday's uncharacteristically lively ABC telecast (produced by Gilbert Cates) a welcome departure and a winner in its own right. Of course there was nothing unusual about a best-supporting-actor award to a 72-year-old Hollywood veteran appearing in ""City Slickers,"" the year's most lucrative sentimental comedy. However, Oscar audiences ordinarily have to wait all night for the kind of loose-cannon appearance Mr. Palance put in at the beginning of the show. And Mr. Palance's cheerfully unprintable acceptance speech, not to mention his impromptu calisthenics display, provided Billy Crystal, the program's sensationally quick-witted host, with a whole evening's worth of running gags.
+""A man of few words,"" Mr. Crystal observed after his ""City Slickers"" co-star had concluded his remarks, which did not include thank-yous to any of the film's other personnel. ""Jack Palance just bungee-jumped off the Hollywood sign,"" he said a little while later.
+""I know why I wasn't nominated; it's because I'm a woman,"" Mr. Crystal went on. This was only one of the evening's scattered references to the fact that Barbra Streisand was not nominated for best director, the first of which was in Mr. Crystal's own song medley, which has become one of the show's most delightful features. His introduction to the medley, in which he explained that the audience would be spared the obligatory splashy production number to start the show, made it that much better.
+""Seven nominations on the shelf/ Did this film direct itself?"" Mr. Crystal sang, imitating Ms. Streisand's ""Funny Girl"" musical style. When it came to ""J. F. K."" he crooned (to the tune of ""Three Coins in the Fountain""):
+Three shots in the plaza  Who done it, Mr. Stone?  The C.I.A. or Homer Simpson?  The F.B.I. or Vic Damone?
+Even better than Mr. Crystal's musical interlude was his opening monologue, which set the evening's clever and iconoclastic tone. ""I remember when people used to take out
+trade ads
+,"" he said of Warren Beatty's recent high-profile extracurricular activities and their possible promotional benefits to ""Bugsy."" Of Oliver Stone he said, ""Some say he's paranoid, but his next movie is entitled 'The
+Men
+Who Shot Liberty Valance.' ""
+""They can't afford to have another hit,"" he said of the financially troubled Orion Pictures, which wound up sweeping the awards with ""The Silence of the Lambs."" That film's Hannibal Lecter face mask provided Mr. Crystal with the perfect prop for a wicked, show-stopping entrance.
+Appearances by Thing (the ambulatory hand from ""The Addams Family""), the crew of the space shuttle Atlantis and an animated Beauty and the Beast as co-presenters provided the show with some novel touches. So did Mr. Crystal's running references to various male presenters (Kevin Costner, Nick Nolte, Patrick Swayze) as first-place winners of People magazine's annual citation for the Sexiest Man Alive. ""Know who was second?"" Mr. Crystal asked. ""Jack Palance."" In the sex-appeal category, the teaming of presenters like Antonio Banderas (""The Mambo Kings"") and Sharon Stone (""Basic Instinct"") showed the academy to be very much up to date.
+In notably short supply was Hollywood's old guard, although Paul Newman and Elizabeth Taylor represented it radiantly when they teamed up to present the best-picture Oscar. The presenters were as current as Mike Myers and Dana Carvey of ""Wayne's World,"" the gallant Tom Hanks, the bizarrely matched Susan Sarandon and Geena Davis (the latter a head and a half taller than her pregnant co-star and apparently dressed as a can-can dancer), the film makers Spike Lee and John Singleton, and the nominated mother-and-daughter co-stars Diane Ladd and Laura Dern (of ""Rambling Rose""). They were ""the first mother-daughter team ever nominated if you don't count Faye Dunaway in 'Chinatown,' "" Mr. Crystal said. ""Rent it!"" he commanded, when the audience took a moment to get the joke.
+The evening featured a number of touching and gracious acceptance speeches, particularly that of the great Indian director Satyajit Ray, who lay in his hospital bed in Calcutta and clutched the Oscar he received for lifetime achievement as he spoke about his award.
+""This just in,"" Mr. Crystal said afterward, apropros of nothing.  ""Jack Palance has won the New York State Primary.""
+The screenwriter Callie Khouri said fervently, ""For everyone who wanted to see a happy ending for 'Thelma and Louise,' for me this is it."" Bill Lauch, an architect and the companion of the winning lyricist Howard Ashman, accepted the Oscar for the song ""Beauty and the Beast"" with tremendous sad dignity, noting that this was ""the first Academy Award given to someone we've lost to AIDS."" Jonathan Demme, stammering through impassioned thank-yous for his award as best director for ""The Silence of the Lambs,"" remembered to single out and name some new directorial talent. Anthony Hopkins's brief remarks after accepting the Oscar as best actor were the very model of eloquent tact.
+Although several of the speakers espoused causes (Richard Gere urging AIDS research, the feature-documentary winner calling for a boycott of General Electric), the evening's most radical message came from the awards themselves. In choosing ""The Silence of the Lambs"" and, for makeup, sound and visual effects ""Terminator 2,"" over more comforting and conventional choices, the academy further underscored the start of Oscar's new age. Only occasionally did the evening sound a nostalgically embarrassing note: when one of the editors of ""J. F. K."" offered a taste of what a big ""J. F. K."" win would have sounded like (""It's rare that a man has the courage to seek out the higher truth . . .""); in a modern dance number celebrating the nominated soundtracks, and in a clumsy performance of the nominated song from ""Hook"" by a half-dozen young actors. ""Jack Palance is the father of all those children,"" Mr. Crystal said.
+The host's finest hour came with the kind of technical foul-up that often leaves the participants badly flustered. When the 100-year-old producer Hal Roach, speaking from the audience, expressed thanks for his honorary Oscar without realizing he had no microphone, Mr. Crystal saved the day. ""I think that's fitting, because Mr. Roach started out in silent films,"" he said. It is to be hoped, even though Mr. Crystal insisted Jack Palance would be the show's host next year, that he himself will be keeping up the good work.
+Another valuable contribution came from Chuck Workman's witty montage, which spanned the full range of movie comedy from Chaplin and Keaton to ""Home Alone."" Last of all (and hardly least, from the spectators' standpoint), the clothes: Demi Moore's lace 1940's-style gown, Liza Minnelli's clinging black dress with cut-out shoulders), Daryl Hannah's black slip-like concoction, and Rebecca De Mornay's gown (no explanation necessary), made memorable impressions. Red ribbons signifying AIDS awareness were worn by most presenters. A couple of the men (like George Lucas, recipient of the Irving G. Thalberg award) wore strange shades of brown. Geena Davis, as mentioned, had the outfit for the record books. And Juliette Lewis needs hair help in a hurry. THE OSCAR WINNERS
+Picture: ""The Silence of the Lambs"" Director: Jonathan Demme, ""The Silence of the Lambs"" Actor: Anthony Hopkins, ""The Silence of the Lambs"" Actress: Jodie Foster, ""The Silence of the Lambs"" Supporting Actor: Jack Palance, ""City Slickers"" Supporting Actress: Mercedes Ruehl, ""The Fisher King"" Original Screenplay: Callie Khouri, ""Thelma and Louise"" Adapted Screenplay: Ted Tally, ""The Silence of the Lambs' Foreign Film: ""Mediterraneo,"" Italy Art Direction: ""Bugsy"" Cinematography: ""J. F. K."" Costume Design: ""Bugsy"" Documentary Feature: ""In the Shadow of the Stars"" Documentary Short Subject: ""Deadly Deception: General Electric, Nuclear Weapons and Our Environment"" Film Editing: ""J. F. K."" Makeup: ""Terminator 2: Judgment Day"" Original Score: ""Beauty and the Beast"" Original Song: ""Beauty and the Beast"" from ""Beauty and the Beast"" Animated Short Film: ""Manipulation"" Live Action Short Film: ""Session Man"" Sound: ""Terminator 2: Judgment Day"" Sound Effects Editing: ""Terminator 2: Judgment Day"" Visual Effects: ""Terminator 2: Judgment Day"" Lifetime Achievement Award: Satyajit Ray. Irving G. Thalberg Award: Given to a film maker for the body of his work. To George Lucas. Gordon E. Sawyer Award: For technical achievement. To Ray Harryhausen for his work in special effects. Special Tribute: To Hal Roach, the comedy film maker, who is 100 years old."
+False,False,False,False,True,False,True,True,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,True,True,True,False,True,True,False,False,False,False,False,False,False,True,False,True,True,False,True,True,False,False,True,False,False,False,False,True,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,True,True,False,False,False,True,False,False,False,True,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,True,False,True,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,True,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,True,True,False,False,False,True,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,True,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,"Review/Television; Letting Fundamentalists Tell Their Own Stories
+Everyone knows that religious fundamentalism is on the upsurge around the globe, but exactly what the term signifies is less clear. It is applied to movements that are distinguished as much by their differences as by their similarities. So welcome to ""The Glory and the Power: Fundamentalisms Observed,"" an enlightening three-part PBS series on aspects of fundamentalism in the United States, Israel and Egypt.
+The first part, ""Fighting Back,"" tonight at 9 on Channels 13 and 49, concentrates on Bob Jones University in South Carolina, which has been called the West Point of fundamentalism. This family enterprise -- run by Dr. Bob Jones Jr. and Dr. Bob Jones 3d, son and grandson of the founder -- holds fast to values that have lately become a subject of impassioned contention in national politics and some amusement on late-night television.
+Bill Jersey, the executive producer of the series and the producer of this part, sensibly avoids comment and allows the school's staff and students to show and tell. There is a home economics class where young women learn that the Bible sets fashions for female dress that do not give young men the wrong idea. A similar teaching can be found in Islam, too.
+Theology classes learn that women are inferior to men (""That is the way God made it,"" says Bob Jones 3d), but with big responsibilities of their own. The female students interviewed seem satisfied. One says admiringly that there is ""so much order here."" In an unsettled and unsettling world replete with moral ambiguities, faith evidently provides security for those who can embrace it without too many questions. The school, which was denied tax-exempt status by the Federal Government a few years ago because of its racial discrimination, has black students but does not permit interracial dating, presumably another biblical injunction.
+Although all fundamentalist movements are marked by faith and fervor, the differences among them run deep. At Bob Jones University, with its separatist approach to religion, Billy Graham is considered too inclusive and Jerry Falwell too political. The Bob Jones students who go out as evangelists (""The blood is on you if you don't evangelize,"" a teacher warns) preach a personal salvation that is quite different from the anti-abortion calls of Randall Terry, the head of Operation Rescue, who is seen in action.
+An exploratory spirit also imbues next week's program, ""This Is
+Our
+Land,"" an absorbing close-up of Israel's small but politically potent Gush Emunim movement. To its members, settlement of the West Bank is godly work. And the third program, ""Remaking the World,"" tells of some upper-class Egyptians who are making a political case for a return to Islamic values. In Egypt as in Israel, the narration makes plain, these fundamentalists so far represent a minority of orthodox believers.
+From tonight through Thursday, at 6:30 P.M., National Public Radio will broadcast four half-hour documentaries on fundamentalism in the United States, Guatemala, the Middle East and India. Next week it will have a two-hour discussion of the themes in the radio and television programs. ""The Glory and the Power"" makes the sort of contribution to its audience's understanding of a significant phenomenon that justifies public broadcasting's franchise. Nightline  ABC Tonight at 11:30
+The name Joel Barr is likely to ring a bell only for buffs of the case of Julius and Ethel Rosenberg, who were executed 39 years ago this Friday for conspiring to pass atomic secrets to the Soviet Union. Mr. Barr, a close friend of Julius Rosenberg and a fellow Communist, worked on American military projects in World War II. He went to Eastern Europe in 1948, shortly before the F.B.I. began its Rosenberg-ring investigation.
+Tonight, at 11:30 on ABC, ""Nightline"" tells how Mr. Barr and Alfred Sarant, another engineer close to the Rosenbergs, wound up in Leningrad as high-level scientists working on Soviet military projects, with many perks and the special blessing of Nikita S. Khrushchev. Home photographs show Mr. Barr and Mr. Sarant, who died in 1979, disporting with their new families and marching in some sort of parade. Their story makes a curious sidebar to the history of the cold war.
+In an interview with a skeptical Ted Koppel, Mr. Barr denies doing any spying but seems a bit abashed at having worked for the Soviet military all these years. ""Politically, I think you're a dunce,"" Mr. Koppel informs him. The tale of intrigue turns into comedy when Mr. Barr, who has been allowed back into the United States, is seen waving his Communist Party card at a student Trotskyist at Columbia University. The humor mounts as he reports he is now collecting Social Security and looking for investors in a Russian computer-chip company. The final punch line: he says he voted for Edmund G. Brown Jr. in the New York Democratic primary. The Glory and the Power Fundamentalisms Observed  Channels 13 and 49 Tonight at 9 The first in a series of three television documentaries on religious fundamentalism. The producers for television are Bill Jersey, Jane Treays and Steven York; Rachel Lyon, series producer; Mr. Jersey, executive producer; Lewis Freedman, senior executive producer. A production of the Public Broadcasting  Service."
+False,False,False,False,True,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,False,False,True,False,True,False,True,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,True,True,False,False,False,True,False,False,False,False,True,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Jackie Mason Forgoes His Stand-Up Routine
+Jackie Mason, comic, is taking himself quite seriously on ""The Jackie Mason Show,"" a new Mondays-at-8 P.M. series on Channel 9. This is the television equivalent of those radio call-in shows on which opinions, informed or not, are full to bursting with sound and fury. Here, though, the host works not off telephone callers but off a studio audience, described by the producers as Mr. Mason's ""handpicked celebrity audience of newsmakers."" Of course, one person's celebrity can be another's loudmouth.
+The premiere two weeks ago featured assorted members of the working press, both print and electronic, in a heated session that touched on everything from the Ross Perot phenomenon to Irangate, even managing to conclude at one point that adultery is a pointless election issue. ""Nixon is the only President that never committed adultery,"" Mr. Mason insisted, ""and look at him."" Tonight the theme will be ""Lawyers,"" with the lineup scheduled to include Eric Naiburg, Albert Krieger. Barry Slotnick, Joel Siegal, Raoul Lionel Felder -- in short, most of the usual suspects.
+Mr. Mason sees his show as ""democracy in action."" Think soapbox. Last week's session on crime featured a handpicked audience top-heavy with police officers who were periodically assured by Mr. Mason that ""I support law and order in this country more than anybody."" Applause. His unassailable point: Crime is terrible. Now, why do we tolerate it? What do we do about it? Take the handcuffs off the cops, said one speaker, and build more jails ""to put the criminals away and leave them away."" Applause. A former Federal drug official about to start a prison sentence maintained that he was ""set up by a drug cartel,"" prompting Mr. Mason to declare that ""this is the most horrible story having to do with a cop I ever heard yet."" Standing ovation.
+A woman who is a Transit Police officer spoke of the enormous daily stress suffered by officers. Mr. Mason congratulated her for a point well taken, but then couldn't resist adding, ""you're not a bad-looking person, either."" Then, to the officer's obvious astonishment, he began wondering if women had enough physical strength for subduing tough criminals.
+The officer, who identified herself as president of the Transit Police Women's Association, suggested that skill might be more important than strength, especially if you remember to ""think before you act."" The thought clearly bypassed Mr. Mason. Turning to another understandably exercised woman, her New Jersey State Police uniform heavy with citation ribbons, Mr. Mason wondered, ""Did you have something to say, sweetheart?""
+In this sort of exercise, maintaining momentum tends to be more important than grappling with nagging details. When all else fails, tell a joke, something that Mr. Mason can do quite cleverly. Balance? Sure, he says, pointing to different sections of the audience: a genius here, a jerk over there. But even better than a laugh, evidently, is inflammatory rhetoric.
+Mr. Mason was most impressed by Curtis Sliwa, co-founder of the Guardian Angels and, as it happens, co-host with his wife, Lisa, of a call-in radio show. Smoothly delivering sound bites, Mr. Sliwa managed to blast Ted Koppel and Mayor David N. Dinkins while hinting that he alone was the last line of defense against ""the jackals, the vultures and the buzzards"" of our society. That very sound bite turned out to be the one clipped Friday by a local newscast reporting that Mr. Sliwa had been seriously wounded on his way to his radio studio by an unidentified gunman. One of his first hospital visitors was Mayor Dinkins. Mr. Sliwa continues to recover.
+Mr. Mason is on to a hot broadcasting phenomenon. Everybody, it seems, wants to sound off these days, and politicians aren't the only people searching for public forums. Mr. Mason's is no worse than most but, personally, I like his stand-up act better.  The Jackie Mason Show  Channel 9 Mondays at 8 P.M. Directed by Frank Ryan; Rosemary Henri, senior producer; Bob Woodruff and Jyll  Rosenfeld, co-executive producers."
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+The soft spot that television news usually shows for people on welfare is not evident in tonight's edition of ""Prime Time Live."" The subject of Diane Sawyer's tough-minded report is the cheaters whose number, she says, far exceeds the official figure of 2 percent. One investigator puts the figure at closer to 50 percent, and tonight's exposure of the ease with which the system can be bilked makes that seem plausible.
+The main scam, explained by several scammers for the benefit of a hidden camera, involves working at an unreported job and drawing welfare payments too. ""Absolutely I'm lying to them: right,"" one man tells Ms. Sawyer. ""But it's for my benefit. Why should I tell them the truth of the matter? I'm trying to get the maximum money I can out of them.""
+That seems to be the spirit of most of the clients interviewed here, and it is far from irrational. The figures tell the story. One welfare recipient obtains $7,000 a year in cash and food stamps along with medical care for herself and her young daughter. She also holds two undisclosed part-time jobs that bring in $9,700. So she would need a job paying at least $16,000 a year after taxes and comparable medical care to make going straight worthwhile, and such jobs are not readily come by these days. She says, ""They can't give us what we really need, so you got to go for what you can get.""
+A ""Prime Time"" producer in New York City is seen buying a fake birth certificate and an unsigned Social Security card, useful items for registering for welfare. Some people have been known to register under several different names.
+Another popular technique is practiced by those whom a fraud investigator in Milwaukee calls ""welfare tourists."" They sign up in generous states like Wisconsin even though they live in Illinois, where they also receive welfare payments. They visit Milwaukee once a month to collect their checks. It seems to be generally agreed that the people on the official side of the desk are not inclined to challenge any hard-luck story.
+A segment of tonight's program that was completed too late for review covers some of the solutions now being advanced for a flawed system. Meanwhile, the examples of cheating shown here can only add fuel to the anger that Ms. Sawyer notes is growing around the country. She talks to tobacco farmers in Kentucky who call themselves the working poor and feel they are being punished by having to support the nonworking poor. One man says, ""You wonder if they're not smarter than you are.""  Prime Time Live Welfare Fraud  ABC, tonight at 10 (Channel 7 in New York)
+Directed by Roger Goodman; Elena Mannes, producer; Richard N. Kaplan, executive producer; Diane Sawyer, correspondent."
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+The savings-and-loan disaster is not camera friendly -- no shootouts, no car chases, no emergency rooms -- which may be why it has inspired few documentaries. But like the gorilla in the bedroom, it is not easy to ignore. L. William Seidman, who until last week was in charge of the Federal agency entrusted with damage control of what he calls ""the mother of all Government mistakes,"" says the cost to taxpayers will probably reach $600 billion to $700 billion. He makes the estimate tonight on ""The Great American Bailout,"" a punchy ""Frontline"" report at 9 on Channels 13 and 49.
+Robert Krulwich, the program's correspondent, traces the trouble to the 1982 deregulation of savings and loans, which permitted them to invest their federally insured deposits in all manner of risky speculations. He describes that bill, which was pushed by both the Republican Administration and the Democratic leadership in Congress, as an invitation to ""real estate speculators and outright crooks who turned some S.&L.'s into their private piggy banks."" When the real estate boom went bust, particularly in the Southwest, Washington was left holding a very big bag.
+The focus tonight is not on the political wheeling-and-dealing that produced the disaster but on the calculations that prevented both parties from addressing the problem realistically before the 1988 Presidential election, when it would have been more manageable. Michael S. Dukakis seems to have been inhibited by Democrats' complicity in deregulation, and George Bush was campaigning on a platform of no new taxes: ""Read my lips."" Mr. Krulwich is skeptical of the explanations of M. Danny Wall, who served ingloriously as chairman of the Federal Home Loan Bank Board that year and kept underestimating the costs to the Government until after Election Day.
+Mr. Wall denies feeling any pressure from the White House, but matters only got worse under his watch. The case histories reviewed here do not inspire confidence. For example, in the rush to sell Gibraltar Savings, the biggest Texas savings and loan to go broke, the bank board made a deal with a group headed by Ronald O. Perelman, of Revlon. For an investment of $315 million, they received tax breaks worth $900 million. As Mr. Krulwich observes, taxpayers were subsidizing one of the richest men in the country.
+The program is particularly good at showing how the bailout is working, if that is the word, these days. For a look at the way the Resolution Trust Corporation goes about selling off ""the empty shopping centers, the golf courses with no greens, the marinas with no water"" along with $100 billion worth of securities, Mr. Krulwich visits Austin, Tex., heart of speculationland, where the Government is now ""the biggest landlord in town."" He finds incompetence, confusion and possibly political favoritism, which keep raising the bailout bill to the Treasury.
+One candid real estate speculator in Sacramento, Calif., tells of the bargains he has been picking up, like a brick house worth $80,000 for about $8,000. He says he would have paid more, but to his surprise his first offer was accepted. As an investor he thought, ""Terrific buy!"" As a taxpayer he thought, ""What a rip-off!""
+The examples bring home what those somewhat abstract billions upon billions mean. And Mr. Krulwich raises an ominous question: With the savings and loans in collapse, can banks be far behind? Never mind shootouts and car chases. ""The Great American Bailout"" presents the biggest mugging in American history. Frontline The Great American Bailout Produced by Glenn Silber for ""Frontline"" and the Center for Investigative Reporting; David Fanning, executive producer for ""Frontline""; Robert Krulwich, correspondent. At 9 tonight on Channels 13 and 49."
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+They are a minority within a minority, and until recently television scarcely acknowledged the existence of black conservatives. But as hopes have faded that once-popular liberal programs can do much about the pathologies of the inner cities, critics of the welfare state have been getting more of a hearing. ""Black American Conservatism: An Exploration of Ideas,"" at 10 tonight on Channel 13, offers views that go smack against the policies of leaders of the major black organizations and the opinions of most black voters as well as the disposition of public broadcasting itself.
+The hour, paid for largely by conservative foundations, does not have much visual kick. It consists in the main of expositions of the conservative position by Dr. Alan L. Keyes, who has served in the Reagan and Bush Administrations; Robert L. Woodson, a disenchanted N.A.A.C.P. member, who is now the president of the National Center for Neighborhood Enterprise; Joseph Perkins, an editorial writer for The San Diego Union, and like-minded exponents of black self-help.
+In interviews with Clarence E. Page, the Chicago Tribune columnist who serves as host, they make the case that the values of family, religion, education and self-achievement that run deep in black America have been undermined by welfare programs operated by what Mr. Woodson calls ""the poverty Pentagon,"" professionals whose own welfare depends on the existence of a permanent underclass.
+'It's the victim's responsibility to get up,"" says Mr. Woodson, whose organization works for local initiatives. The call here is not for more affirmative action or school busing, but for seed money for small businesses and community enterprise.
+The camera visits a few apparent successes, especially a Washington housing project, whose residents, helped by some Federal money, cleaned up their neighborhood. The woman in charge points proudly to the well-kept streets, the flowers and, above all, the feeling of having done it themselves. ""Everyone wants to own their own,"" she says.
+Mr. Page notes that the debate among black Americans over the best road to equality and success did not begin just the other day. Booker T. Washington's post-Civil War vision of gradual economic achievement through education was later written off as appeasement by W. E. B. Du Bois, who demanded full equality at once.
+Tonight's company is on the side of Booker T. Washington and highly critical of the black Establishment, which Mr. Perkins charges with practicing ""a politics of victimization."" Despite the endless stories in newspapers and on television, he emphasizes, most blacks are not jobless or in jail. He says the significant growth of a black middle class in the past decade has been ignored.
+No viewer is likely to come away from tonight's session convinced that conservatives have the answers to the crime, drugs, unemployment and broken families that continue to ravage the inner cities. But at the very least, the unorthodox opinions put forth here warrant a hearing. As with other hard subjects, public television fulfills its mandate when it spices its programming with views that question its viewers' assumptions and its own standard pieties. Black American Conservatism An Exploration of Ideas A report directed by Robin Downes; produced by Robin Downes and Zach Richter for the Corporation for Educational Radio and Television; a presentation of South Carolina ETV; Clarence E. Page, host. At 10 P.M. on Channel 13."
+False,False,False,True,True,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,True,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,True,True,True,True,True,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,True,True,False,False,False,False,True,False,True,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; Controlling the Damage After an Environmental Disaster
+The movie's first images are of pristine waters, sparkling ice floes, magnificent whales, seals and birds. Then the camera pans to the massive man-made skeletons of an oil refinery. The title alone, ""Dead Ahead: The Exxon Valdez Disaster,"" indicates that this is going to be the kind of film that gives damage-control experts nightmares. The HBO-BBC co-production, having its premiere on Saturday at 8 P.M., is a triumph for anyone dedicated to the environment. Anyone else can't help but squirm.
+There is no disputing what happened at 12:05 a.m. on Good Friday, March 24, 1989. The oil tanker Exxon Valdez ran aground off Alaska in Prince William Sound, causing an oil spill that would eventually reach nearly 11 million gallons. The pollution spread over 1,000 miles of Alaskan beaches and killed hundreds of thousands of animals. Long-term damage is still being calculated, as is the impact of the more recent giant spill off Spain.
+The initial moments of the Alaska disaster are dramatized here, complete with an account of the ship's captain, who was later deemed drunk, and of Coast Guard surveillance officials who let the ship wander off their radar screens. But most of ""Dead Ahead"" focuses on what happened then or, more precisely, what didn't happen over the next several days, a period that was crucial if the spill was to be controlled. Michael Baker's script is compiled from press coverage, original research and interviews with witnesses. The direction by Paul Seed (""House of Cards""), pulling together complex story strands and a large cast of characters, is unobtrusively but ferociously lucid.
+What gradually emerges is a portrait of woefully inadequate precautions, appalling incompetence, petty bureaucratic jockeying, greedy calculations and, eventually, allegations of a cover-up. The players include Exxon's top executives; the Alyeska pipeline consortium run by Exxon and six other major American oil companies; local Coast Guard officials, and a White House monitoring delegation. That group is led by Samuel K. Skinner (Kenneth Welsh), Secretary of Transportation; William Reilly (Michael Murphy), director of the Environmental Protection Agency, and Adm. Paul Yost (Rip Torn), head of the Coast Guard. It's a formidable lineup.
+Among the few participants who emerge in this account as good guys, two are especially prominent. The Exxon official rushing from Texas to take charge of the cleanup effort, Frank Iarossi (Christopher Lloyd), is depicted as a decent man genuinely shaken by the disaster but fatally trapped between utter confusion in Alaska and image-spinning back in corporate headquarters. Dan Lawn (John Heard), Valdez district supervisor for the Alaska Department of Environmental Control, is a maverick whose constant criticisms of the general incompetence in containing the spill do not endear him to powerful interests, including some superiors in his own department.
+Clearly, with its pointed exploration of issues and people, this is the kind of docudrama that must take the utmost tactical care. As it happens, the people behind ""Dead Ahead"" have an outstanding track record. The executive producers are Leslie Woodhead, who has considerable experience in television news, and Colin Callender of HBO, who was also behind two previous ""HBO Original Movies,"" ""Tailspin: Behind the Korean Airliner Tragedy"" and ""The Tragedy of Flight 103: The Inside Story.""
+Filmed in Vancouver, British Columbia, ""Dead Ahead"" uses news and home videotapes of the actual spill to supplement the dramatization. As the story unfolds, horror can understandably turn to disbelief and anger. There is the scene, for instance, in which Mr. Skinner, keeping the Federal Government out of the cleanup effort, smilingly assures relieved executives that ""Exxon doesn't have anything to worry about."" There are the final actual shots of dead, oil-saturated animals, in counterpoint with Mr. Lawn, wondering why ""the stock market and bottom line is more important than the land and the sea"" and President Bush, explaining in voice-over that he has concern for the environment but does not want to take ""irresponsible action.""
+Strong stuff, indeed. The kind you would never come across on the commercial networks or even public television. HBO, take a bow. Dead Ahead The Exxon Valdez Disaster  HBO, Saturday at 8. Directed by Paul Seed; written by Michael Baker; music by David Ferguson; editor, David King; director of photography, Ian Punter; Colin Callender, executive producer for HBO Showcase; co-producers, Frank Doelger and Howard Meltzer; produced by David M. Thompson and John Smithson; an HBO Showcase/BBC Film; Leslie Woodhead, executive producer. Dan Lawn . . . John Heard Frank Iarossi . . . Christopher Lloyd Adm. Paul Yost . . . Rip Torn Samuel K. Skinner . . . Kenneth Walsh William Reilly . . . Michael Murphy"
+False,False,False,True,True,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,True,False,True,False,True,False,True,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,True,True,False,False,False,True,False,True,False,False,True,True,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Where Politics Is Not Government
+For as long as anyone can remember, politics in Louisiana has been an entertaining embarrassment interrupted by brief fits of reform. Observers on ""Louisiana Boys: Raised on Politics,"" tonight's sassy yet serious review of the revels, agree that election campaigns are spectator sports throughout the state, fueled by cash and enlivened by marching bands, barbecues and forests of placards.
+Channel 13 programmers are not doing the ""P.O.V."" offering a big favor by preceding it with Ken Burns's accomplished 1985 work ""Huey Long."" Viewers may find two and a half hours among Louisiana pols a lot to take in one evening. Still, the subject is as rich as a down-home gumbo, and for those who stay with it, ""Louisiana Boys"" carries the story up to the present.
+Featured here in delectable newsreel clips, home movies and early television advertisements are, of course, Huey P. Long, the granddaddy of the state's antic tradition; Jimmie Davis, the country singer turned segregationist Governor; Earl K. Long, who spent part of one of his terms as Governor in mental institutions, and especially Edwin W. Edwards, who recently became Governor again despite his much publicized encounters with the law, women and the gambling tables in Las Vegas. He told reporters that he couldn't lose unless he was found in bed with a dead girl or a live boy.
+The narrator explains that such funsters are now and then replaced by reformers, who never last more than a single term before the voters go back to the likes of Mr. Edwards, described here as ""perhaps the most colorful politician of all,"" no small claim in a state that has enjoyed the Longs. And, indeed, it is not easy to imagine a gubernatorial candidate anyplace else paying a deadpan tribute to the ascendance of women in politics with this line: ""Up with skirts and down with pants!""
+Such moments give ""Louisiana Boys"" its Cajun zip, but the program does not fail to note that even the crookedest and craziest officials have left behind enduring public works and benefits for the state's poor, populism with a cracked face. At every election, the plutocrats pour money into all manner of campaigns, for governor to coroner; it trickles down to armies of campaign workers who make a few dollars while enjoying a big party. One assumes that the contributors get a generous return on their investments.
+David Duke, the former Ku Kluxer and lately candidate for the Republican nomination for President, figures briefly tonight as a warning that the racism of years gone by still bubbles beneath the interracial surface. Even at a time when black politicians have taken power in major centers like New Orleans, Mr. Duke won a majority of the state's white voters in his 1990 Senate campaign.
+Unlike many other states, Louisiana boasts huge voter turnouts. This hour may leave you wondering whether that is an unadulterated virtue. As Earl K. Long is reported to have said, ""Some day Louisiana is going to get good government, and they ain't going to like it.""  P.O.V. Louisiana Boys: Raised on Politics  PBS, tonight at 10 (Channel 13 in New York) Edited by Anne O. Craig; produced and directed by Paul Stekler, Andrew Kolker and Louis Alvarez; Edward Kurtz, narrator."
+False,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,True,True,True,False,True,True,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,True,False,False,True,True,True,True,False,True,False,True,False,True,False,False,False,True,False,False,False,True,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; Wendy Hiller as Countess With Past
+Acting can sometimes be a miraculous profession. Wendy Hiller, who was 80 in August, has in the last year or so been doing some of the best work of her distinguished career. And ""Masterpiece Theater"" on public television has been a chief beneficiary. Earlier this season, there was ""The Best of Friends,"" with John Gielgud and Patrick McGoohan. This Sunday at 9 P.M. on Channel 13 there is ""The Countess Alice,"" co-starring Zoe Wanamaker.
+Miss Hiller has always been a gifted actress. That much was spotted early on by none other than George Bernard Shaw, who handpicked her for two major film performances: Eliza Doolittle in ""Pygmalion"" and the title role in ""Major Barbara."" Among other career landmarks, she won an Oscar as best supporting actress in the 1958 film version of Terence Rattigan's ""Separate Tables."" Miss Hiller has rarely failed to impress, but her recent performances have assumed an even higher level of authority. The voice is more commanding, the bearing more regal. The effect can be quite astonishing.
+""The Countess Alice,"" which was written by Allan Cubitt, casts Miss Hiller as Alice, Countess von Holzendorf, an octogenarian widow living with her middle-aged daughter, Connie (Miss Wanamaker), in today's London. A magazine has decided to do a ""then and now"" feature on Alice and some of her friends, all of whom were somewhat naughty debutantes back in the 1930's.
+Assigned as the writer, Nick Black (Duncan Bell) senses a more important story lurking in Alice's life in prewar Germany when she fell in love with and married the Count von Holzendorf. When Alice objects vehemently to Connie's plan to visit the former family mansion in what was East Germany, Nick's snooping accelerates. Connie proceeds with her trip, only to make a shocking discovery.
+The story is fragile and not entirely persuasive, but many of the details are skillfully observed. Pulling her ratty fur coat about herself, Alice sniffs, with an eye on animal-rights activists, ""I can expect to be spat on outside Harrods."" Giving German lessons to earn the bit of money that allows her to live in ""faded grandeur,"" as Miss Wanamaker puts it in a brief introduction to the play, Alice confesses that she has only two pupils left, one of them ""a fat businessman who assures me that German is now the lingua franca of Europe."" Just listen to Miss Hiller put vocal quotation marks around that Latin term.
+Alice might insist, rather desperately, that the past is dead and buried, but it is clearly determined to return from the grave. Connie -- childless, getting old, bored with her work as a librarian -- will discover her life has been built on lies. Alice finds that there is no avoiding the truth. Still, Connie will go to the trouble of putting cheap tea in a Fortnum & Mason tin to keep up appearances for her mother. What's more, Alice knows about the tea and says nothing.
+Incidentally, the dilapidated German home in the film is actually a house in Suffolk, England. Miss Wanamaker points this out as ""a fitting metaphor for the story of a woman who called both countries home."" 'Masterpiece Theater' 'The Countess Alice'  PBS, Sunday at 9 P.M. (Channel 13 in New York) Directed by Moira Armstrong; written by Allan Cubitt; produced by Colin Ludlow for BBC Television; George Faber, executive producer. Alice . . . Wendy Hiller Connie . . . Zoe Wanamaker Nick . . . Duncan Bell Margot . . . Patricia Quinn Jane . . . Lucinda Fisher Tilly . . . Sylvia Barter Beattie . . . Madge Ryan"
+False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,True,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,True,False,False,False,True,False,True,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,True,True,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Reviews/Television; Different Show, Same Roseanne
+Roseanne Arnold, television's reigning female star on the weekly charts, is clearly determined to succeed in the movies. Starring opposite Meryl Streep, she took an inglorious flop in ""She-Devil."" (She was still billed as Roseanne Barr at the time.) Now, at 9 tonight on ABC, she can be seen in ""Backfield in Motion,"" her first made-for-television movie. This is what used to be called a vehicle, carefully tailored to the star's already established public persona. It's silly, obvious and just outrageous enough not to disappoint Roseanne Arnold's more fervent fans.
+Mrs. Arnold plays Nancy Seavers, recently widowed and moving to suburban Deerview from Los Angeles with her teen-age son, Tim (Johnny Galecki). ""Hey,"" says Tim, sulking about the new neighborhood, ""I've seen 'Hee Haw.' "" ""And now,"" says Mom with a wicked smile, ""you're gonna live it."" Tim finds his new neighbors weird, especially the contingent of housewives greeting them with tuna casseroles. Nancy has to agree: ""They do have that certain game-show-contestant glow about them.""
+In Deerview, football is more than a sport: it is a way of life. Attending a pep rally at the high school, Nancy discovers that a highlight of the season is the traditional fathers and sons game. The women are expected to do their part by arranging a bake sale.
+""I don't bake,"" Nancy announces, casting an ominous eye on the gathering. ""I want to play."" What about a mothers-sons game? Nancy's threat to file a sex discrimination suit makes the school consider the idea seriously.
+The plot creakily set in place, the movie proceeds to go through all the expected motions. Initially isolated in the community, Nancy quickly makes inroads with the other women, who suddenly decide that they are not respected by their husbands and children. Crucial to Nancy's effort is Howard Peterman, the school's vice principal, who is considerably less than fond of the rah-rah football coach. He is played quite appealingly by Tom Arnold, Mrs. Arnold's husband, and his scenes with Nancy are suffused with an unmistakable warmth. Mrs. Arnold actually bats her eyes shamelessly.
+The character of Nancy never gets in the way of the character television viewers know as Roseanne. This woman is tough and has a scathing tongue to prove it. There's that gleeful glint in her eye as she complains about another woman being in charge of everything: the P.T.A., the Girl Scouts, the Marilyn Quayle Fan Club. Rallying her players, she shouts, ""Let's get out there and show them we're a bunch of tough mothers!,"" opening the line to any spin required. And when someone at the big game suggests that Nancy sing the national anthem, the camera goes in for a tight close-up of Roseanne, barely able to suppress a giggle as she replies, ""I don't think so.""
+Not a cinema classic, to be sure, but ""Backfield in Motion"" provides an unusual and, in many ways, an extraordinary performer with a serviceable showcase. Backfield in Motion Directed by Richard Michaels; written by Gene O'Neill, Noreen Tobin and Janet Brownell, based on a story by Mr. O'Neill and Ms. Tobin; produced by Bill Borden and Barry Rosenbush for Think Entertainment in association with Avnet/Kerner; Shelley Duvall, Jon Avnet and Jordan Kerner, executive producers. At 9 tonight on ABC. Nancy Seavers . . . Roseanne Arnold Howard Peterman . . . Tom Arnold Laurie . . . Colleen Camp Ann Bedowski . . . Conchata Ferrell Sheila . . . Carolyn Migini Tim Seavers . . . Johnny Galecki Betsy Dooley . . . Olivia Burnette Jimmy Cox . . . Michael Pniewski"
+False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,True,False,False,False,False,True,False,True,False,False,False,True,True,False,False,False,False,False,False,True,True,False,False,True,True,True,False,False,False,True,True,False,False,False,True,False,True,False,True,True,False,False,False,True,True,True,False,True,False,True,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,True,False,False,False,False,False,True,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,True,False,False,True,True,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; Peggy Ashcroft in 'She's Been Away'
+Made-for-television movies this weekend are dominated by three actresses giving superb performances in two disappointing vehicles. On ""Masterpiece Theater"" this Sunday, Channel 13 at 9 P.M., there's ""She's Been Away,"" starring Dame Peggy Ashcroft and Geraldine James, formerly co-stars in ""The Jewel in the Crown."" And directly opposite on CBS, there is the ""Hallmark Hall of Fame"" presentation of ""One Against the Wind,"" with Judy Davis as a World War II hero.
+Long one of England's most acclaimed actresses, Dame Peggy died in June at age 83 and, Alistair Cooke points out, this presentation, augmented by a brief remembrance essay, is ""by way of paying tribute."" Her final film, ""She's Been Away"" is written by Stephen Poliakoff and directed by Sir Peter Hall. Dame Peggy plays Lillian Huckle who, after being kept in a mental hospital for 60 years, is released into the custody of her stockbroker nephew Hugh Ambrose (James Fox) and his wife Harriet (Miss James). Still a rather difficult woman, the ominously silent Lillian has family and friends guessing whether she remembers anything or is, in fact, devilishly clever.
+Through flashbacks we learn that Lillian was a rebellious, disruptive young woman who was thrown into an institution primarily because of her contempt for her cold fish of a father. At the same time, it becomes increasingly clear that the pregnant Harriet loathes both her proper husband and their pudgy, pompous young son. Heading toward a breakdown herself, Harriet joins forces with the enigmatic Lillian, never being quite sure of the extent of the old woman's comprehension.
+Dame Peggy and Miss James are wonderful, the older woman conveying a staggering range of emotions while hardly uttering a word, the younger sinking ever deeper into a self-destructive pit of contempt and recklessness. But Mr. Poliakoff's script attempts to encompass too much, from its unconvincing depiction of the mentally disturbed as admirable nonconformists to its smug put-downs of such modern artifacts as supermarkets. There are too many distractions, not least Sir Peter's hyperkinetic direction. Intended to be provocative, ""She's Been Away"" is too often exasperating.
+""One Against the Wind,"" based on fact, has a far more standard plot. Miss Davis, an Australian actress, portrays the English-born Mary Lindell who, during World War II, operated an escape route in France for downed Allied pilots. Her first beneficiary is Capt. James Leggatt, played by the New Zealand actor Sam Neill, who co-starred with Miss Davis in the 1979 film ""My Brilliant Career.""
+Mary is depicted as the embodiment of determined gumption, her inner uncertainties masked by outward bravado. Helped by her son, Maurice (Christien Anholt), but upset by her daughter, Barbe (Kate Beckinsale), who falls in love with a German officer, Mary takes heroic chances and ends up imprisoned not once but twice. But once the basic story is set up, ""One Against the Wind"" settles into a quite ordinary adventure story. Certain details are fuzzy, not least the status of Mary's never-seen and barely mentioned husband. And the Neil character is kept around for a hint of romance that never really amounts to anything. But Miss Davis has an opportunity to dazzle in a tour de force, and she handles it beautifully. 'Unfinished Stories 1991'
+Bravo Sunday from 5 P.M. to 5 A.M.
+The AIDS story in this country can now be told under the heading ""Before Magic, After Magic."" In the before column, television has distressingly little to be proud about. Few organizations have ventured beyond the boundary of not-very-benign neglect. The Bravo channel is among the exceptions with its annual fund-raising effort -- this is the third -- to help local AIDS organizations through the Broadway Cares agency. The evening's special presentations on World AIDS Day will include the complete ""Red, Hot and Blue,"" a music video featuring pop stars from K. D. Lang and Sinead O'Connor to Deborah Harry and Iggy Pop singing the songs of Cole Porter. An edited version, deleting most references to AIDS, was shown last year on ABC. Bravo will also have ""Talkin' About Aids,"" a helpful and frank Canadian documentary offering advice on disease prevention to younger viewers. The Bravo telethon will continue each Sunday during December. 'The Last Laugh'
+Channel 13 Sunday at 7 P.M.
+Often more courageous than its PBS umbrella organization when it comes to the subject of AIDS, Channel 13 is observing World AIDS Day with some related repeat programs and this hourlong documentary, produced a year or so ago by Karin Babbitt Chilcott and Deborah Jones. Taped at the Santa Cruz, Calif., AIDS Project, the film watches 10 professional comics developing stand-up comedy routines for 9 people with AIDS. All concerned then perform before an appreciative audience at the center. While the reality of death remains nearby throughout, the spirit of this offbeat and inspiring session is summed up in a comment by one participant: ""Optimism is what life is all about. A good laugh sort of cleans your system."" Masterpiece Theater
+She's Been Away
+Directed by Sir Peter Hall; written by Stephen Poliakoff; produced by Kenith Trodd; a BBC Films production; Rebecca Eaton, executive producer; Alistair Cooke, host. At 9 P.M. Sunday on Channel 13. Lillian Huckle . . . Dame Peggy Ashcroft Hugh . . . James Fox Harriet . . . Geraldine James One Against the Wind
+Directed by Larry Elikann; written by Chris Bryant; director of photography, Dennis Lewiston; editor, Peter White; costumes by Betsy Heimann; music by Lee Holdridge; production designer, John Blezard; produced by William Hill for Republic Pictures; a Hallmark Hall of Fame presentation; Karen Mack, executive producer. At 9 P.M. Sunday on CBS. Mary Lindell . . . Judy Davis Capt. James Leggatt . . . Sam Neill Father LeBlanc . . . Denholm Elliott Maurice . . . Christien Anholt Barbe . . . Kate Beckinsale Herman Gruber . . . Anthony Higgins"
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+Last Sunday, made-for-television movies featured a doctor who finds on her operating table the man who had raped her weeks earlier (CBS's ""Rape of Dr. Willis"") and a woman being imprisoned for a crime she did not commit and then being raped by a gang of female inmates (ABC's ""False Arrest""). This Sunday at 9 P.M. -- are you ready? -- you can have a mother who fails to stop one bullying son from driving her other son to murder (CBS's ""My Son Johnny"") or one whale of a woman whose credentials are ticked off in the title (ABC's ""Wife, Mother, Murderer"").
+Obviously, gentle reader, we are in another television sweeps period, during which ratings are crucial in the pricing of network commercials for an entire business quarter. Industry researchers, those indefatigable souls who are generally proved wrong some 90 percent of the time, have evidently determined that women like to watch other women get into trouble and then, even if putting a considerable strain on credulity, get out. And so another dumb formula is born, usually carrying the fuzzy label of ""inspired by an actual event.""
+Why is this Jeopardy Jamboree so prevalent in these particular times? Some analysts might trace the fascination with violence to recession anxieties. But escapism in the Great Depression took the form of sophisticated movies with glamorous stars like Carole Lombard and Irene Dunne, not to mention Fred Astaire and Ginger Rogers. The unsettling truth these days is that popular entertainment is barreling toward creative bankruptcy.
+Looking on as positive a side as possible, television movies, unlike their theatrical counterparts, do create badly needed employment opportunities for actresses over the age of 30. And students of cultural and social pathologies can have a field day cataloging just what types of aberrant behavior television executives think will sell best across the nation. The electronic landscape is littered with unsettling reflections of ourselves.
+The dysfunctional family in ""My Son Johnny"" consists of Marianne Cortino (Michele Lee), a Baltimore widow; her older son, Johnny (Rick Schroder), and her other son, Anthony (Corin Nemec). Johnny is a smooth-talking bum, dedicated to drugs and tormenting his brother. He is also mama's pet. She insists on seeing his constant harassment of Anthony as little more than ""boys will be boys"" horseplay. Murder finally forces her, very reluctantly, to face the truth. Strong performances all around do wonders for a tediously repetitive script.
+In ""Wife, Mother, Murderer,"" Marie Hilley (Judith Light) is discovered in Alabama poisoning her husband and trying to kill her daughter. It seems the insurance money would help Marie realize some of her social-climbing fantasies, most of them puny. Fleeing to Florida under a false identity, she meets a gentle soul who marries her and gives her a home in New Hampshire. Rarely at a loss for a quick con game, Marie eventually ends up in prison but manages to sweet-talk her way into a three-day furlough, during which her story is finally resolved. For a tale so chock full of incident, ""Wife, Mother, Murderer"" is numbingly predictable. Even an accomplished actor like David Dukes ends up standing around looking helpless.
+And the lineup gets more crowded. This Monday, NBC's ""Deadly Medicine"" is about a pediatrician (Veronica Hamel) accused of killing children who were her patients. She didn't do it; her creepy nurse (Susan Ruttan) did. And then there's . . . but no need to burden you with too many dreary details. The networks will do that for you without even being asked. 'The Kathy and Mo Show' 'Parallel Lives'
+HBO Tomorrow at 10:30 P.M.
+Kathy Najimy and Mo Gaffney, taped onstage in San Francisco, bring their award-winning collection of offbeat characters to cable television in the form of an ""HBO Comedy Hour."" Together or separately, the women are hilarious and, not so incidentally, wicked gender benders as they flit in and out of male impersonations. Best bit: Two middle-aged girlfriends enrolled in women's studies at a community college going on a field trip to see a feminist performance called Sister Womyn Sister. 'Living With the
+Living Theater' Channel 13 Sunday at midnight
+The video artist Nam June Paik offers, with Betsy Connors and Paul Garrin, a fond and touching tribute to Julian Beck and Judith Malina and their Living Theater, which became an internationally renowned center of experimental theater in the 1960's. There are interviews with the married couple; clips from performances and from their 1984 trip to Switzerland to visit the grave of the Russian anarchist Mikhail Bakunin; scenes from Beck's funeral, and interviews with the four Beck children. Underlying everything is, in the words of Ms. Malina, ""one's vision of revolutionary possibilities."" Anyone gorged on network foolishness these days will find the shrewd Mr. Paik's alternative invigorating. My Son Johnny
+Directed by Peter Levin; written by Peter Nelson; director of photography, Ron Orieux; editor, John A. Martinelli; music by Dana Kaproff; production designer, Douglas Higgins; produced by Michael O. Gallant and Paul A. Mones for Capital Cities/ABC Video Productions in association with Citadel Entertainment and Carla Singer Productions; David R. Ginsburg and Carla Singer, executive producers. At 9 P.M. Sunday on CBS. Marianne Cortino . . . Michele Lee
+Johnny Cortino . . . Rick Schroder Anthony Cortino . . . Corin Nemec Rhoda Cortino . . . Mariangela Pino Louie Cortino . . . Stephen Dimopoulos Judge Burke . . . Ken Pogue Anna Cortino . . . Joy Coghill Janet Davis . . . Gwynyth Walsh Brian Stansbury . . . Rip Torn Wife, Mother, Murderer
+Directed by Mel Damski; written by David Eyre Jr.; director of photography, Joe Pennella; editor, Michael S. Murphy; costumes by Tom McKinley; music by Mark Snow; production designer, Ben Edwards; produced by Wilshire Court Productions.  At 9 P.M. Sunday on ABC. Marie Hilley . . . Judith Light
+John Homan . . . David Ogden Stiers Carol Hilley . . . Kellie Overbey Joe Hubbard . . . David Dukes Gary Carroll . . . Whip Hubley Maggie . . . Jessie Jones Grandma . . . Mary Nell Santacroce Frank Hilley . . . Joe Inscoe Belinda . . . Robin Florence"
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+Hot and muggy summer is with us once again, so this must be the time when public television traditionally and half-heartedly does its duty by video artists and aspiring film makers. At immediate hand are ""Alive From Off Center"" and ""New Television.""
+PBS plans for them to run back to back from 10 to 11 o'clock on Thursday nights but, depending on how arbitrary local stations are, they can be scattered all over the schedule. Channel 13 in New York is showing ""Alive From Off Center"" on Mondays at 11 P.M. (except next week, when it will be delayed a half-hour) and ""New Television"" on Fridays at 11 P.M.
+Does this time-juggling have anything to do with content? Perhaps. You know how these younger folk are -- questionable language and all that sort of thing. Many of the half-hour segments in these two series are prefaced with warnings that ""Viewer Discretion Is Advised,"" and at least one ""New Television"" entry, ""Son of Sam and Delilah"" by Charles Atlas, has been withdrawn because of objections from local stations. The video was described in a press release as ""a personal response to the sorrow and bewilderment over the loss of friends and to the fear and anxiety of life in the age of AIDS."" Evidently most public stations have had enough of that with the recent controversial showing of Marlon Riggs's documentary ""Tongues Untied"" on the series ""P.O.V."" Channel 13, let it be said, promises to show the Atlas piece in September.
+In any event, the two summer series have gotten off to a spirited start. Entering its seventh season, ""Alive From Off Center,"" a self-described showcase for the performing arts, opened with ""Words in Your Face,"" an anthology of snippets from contemporary poetry, read by the poets themselves, sometimes on New York City streets, sometimes in studio settings. Mark Pellington was the director, and the content ranged from John Leguizamo's wry evocation of ""papaya days, merengue nights"" to Heather B. rapping on life and concluding that ""it all depends on the skin you're living in.""
+Coming up on Monday on Channel 13 is ""Three Animations by Jan Svankmajer,"" the master Czechoslovak film maker. The three works here -- ""The Death of Stalinism in Bohemia,"" ""Darkness Light Darkness"" and ""Punch and Judy"" -- abound in political and social implications yet defy easy pigeonholing. Mr. Svankmajer says, ""As in psychoanalysis, there must be secrecy; without secrecy, there is no art."" In his use of clay animation, certainly, art is unmistakable.
+""New Television"" occasionally fudges on its title. The first offering was Juan Downey's ""J. S. Bach,"" indeed worthy of acclaim but already favorably reviewed in these columns when released in the mid-1980's. Second on tap, scheduled for Channel 13 tomorrow night, is ""Coffee Colored Children,"" an autobiographical essay by Ngozi Onwurah about growing up as the daughter of a white mother and an absent black father in an all-white working-class neighborhood in England. ""There was this white woman with three black children,"" she tells us, ""and no one believed she was our mother."" Recalling racist hooligans smearing dog feces on the family's apartment door, Ms. Onwurah explains why ""I lost my childhood in a blur of aching self-hate."" Eventually, gaining a remarkable sense of self, she is able to wash away ""the real dirt.""
+Here then is television far removed, happily, from the standard diet of inane talk shows and disease-of-the-week movies. Unusual substance can be found lurking in these particular corridors. They may sometimes be a bit difficult to find, but it is definitely worthwhile to, as they say, check your local listings."
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+""A Private Matter,"" having its premiere tomorrow at 8 P.M. on Home Box Office, is the kind of made-for-television movie you won't find in network prime time. For one thing, the subject is abortion, and today that subject is highly emotional and divisive, hardly the stuff of advertiser needs. For another, ""A Private Matter"" is complicated, its unmistakably pro-abortion rights stance snarled in issues and personalities not conducive to tidy upbeat endings.
+Anchored securely in unflinching performances from Sissy Spacek and Aidan Quinn, this is a fact-based story involving Sherri and Bob Finkbine. The scene is Scottsdale, Ariz., in 1962. ""Miss Sherri"" is host of a Phoenix-based edition of the popular children's show ""Romper Room."" Her husband is a high school teacher. They have four children. Pregnant again, Sherri reads a newspaper article describing severe birth defects connected with a sleeping medication, the same one she used after Bob brought some home from a trip to London. Told by the family doctor that the new baby is likely to be deformed, a heartbroken Sherri and Bob decide to terminate the pregnancy.
+Within weeks, the family finds it self at the center of a media storm involving hospital administrators, courts and enraged antiabortion forces. Sherri loses her ""Romper Room"" job, not surprising at a time when television was nervous about even using the word pregnant. Bob is suspended from his job. Hate mail and phone calls pour in. F.B.I. agents are assigned to protect the family. Abortion appointments are made and then nervously canceled. The couple are finally forced to fly to Sweden for the operation.
+The movie, directed by Joan Micklin Silver, clearly supports the right of Sherri to make her own choices and the right of the Finkbine family to its privacy. But as depicted, Sherri doesn't necessarily make any of this easy. Although warned by her doctor that any termination of the pregnancy is technically illegal and must be kept quiet, Sherri wastes little time in telling a local reporter that someone in the area has taken the drug, assuming that her identity will be kept secret. When the story explodes, Sherri is revealed through careless handling of hospital records. Initial discretion could have fended off much of the family's subsequent pain.
+Then there is the extremely sensitive linking of abortion and disability. The disability and abortion-rights movements have common political goals of self-determination and informed choice based on accurate information. But disability groups stress that abortion should not be extolled as a device to rid society of ""defectives."" ""A Private Matter"" is keenly aware of the issue. When a neighbor says she would not have the abortion, Sherri says with admiration, ""You're being a saint, thinking about everyone but yourself.""
+Having the right to make the choice, obviously, is never going to be easy. ""This is going to hurt me for the rest of my life,"" Sherri realizes, ""no matter what I do."" Sherri and Bob went on to have two more children. They were later divorced. 'On the Air'  ABC Tomorrow at 9:30 P.M.
+David Lynch and Mark Frost (""Twin Peaks"") are again being compulsively different, this time going back to 1957 and the fictional television studios of the Zoblotnick Broadcasting Corporation. Final touches are being put on ""The Lester Guy Show,"" whose star (Ian Buchanan) is clinging to an over-the-hill career. Also on hand are the bubbleheaded ingenue Betty Hudson (Marla Jeanette Rubinoff), a sight-impaired sound-effects technician named Blinky (Tracey Walter), the ferocious network executive Bud Budwaller (Miguel Ferrer) and the director Vladja Golchktch (David L. Lander), whose heavily accented orders have to be translated by the stage manager, Ruth Trueworthy (Nancye Ferguson). Props topple, scenery collapses, tempers flare. Different, certainly, even strange, but unfortunately about as funny as, well, an overworked foreign accent. 'HBO Comedy Hour'  'Roseanne Arnold'  HBO Tomorrow at 10:30 P.M.
+With Roseanne and Tom Arnold as executive producers, this hourlong special puts the star of television's No. 1 sitcom in a gold lame pantsuit and lets her sound off uninhibitedly before loudly appreciative fans at the Guthrie Theater in Minneapolis. People tend to upset Mrs. Arnold. ""We're so hideous,"" she says, launching into zesty attacks on everybody from supporters of smokers' and animal rights to opponents of abortion and motorcycle helmets. She is tired of fashions that make fat women look like floats in the Rose Bowl Parade. And she's had it with George Bush and the San Diego Padres. And oh, yeah, she thinks it's about time she got an Emmy Award. Her unusual argument is not, however, printable here. A Private Matter  HBO Tomorrow at 8 P.M.
+Written by William Nicholson; David C. Thomas, producer; Ronnie D. Clemmer, Bill Pace, Sydney Pollack and Lindsay Doran, executive producers. A Longbow Productions film in association with Mirage Enterprises for HBO Pictures. Sherri Chessen Finkbine . . . Sissy Spacek Bob Finkbine . . . Aidan Quinn Mary Chessen . . . Estelle Parsons"
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+Leslie Titmuss is back, as aggressively sour as ever. Introduced five years ago in the John Mortimer mini-series ""Paradise Postponed,"" the rather monstrous Englishman is the resentful working-class boy who grew up to be a Tory politician in Margaret Thatcher's Conservative Party. Now, in Mr. Mortimer's ""Titmuss Regained,"" he has risen to the Cabinet rank of Minister of Housing, Ecological Affairs and Planning, sporting the curiously appropriate acronym HEAP. The three-part series begins its run on ""Masterpiece Theater"" on Sunday at 9 P.M. on Channel 13.
+The author clearly despises Titmuss but, as might be expected from the creator of ""Rumpole of the Bailey,"" is shrewd enough to make him the kind of villain you love to hate. And Mr. Mortimer receives enormous assistance in the performance of David Threlfall (Smike in ""Nicholas Nickleby""), whose Titmuss is a symphony of sneering and dissonant haughtiness. Mr. Threlfall seems to have devised the most offended nose in the history of British television, and that does indeed take some devising.
+For a while this time out, it appears that, against all odds, Titmuss could end up being softened with a touch of humanity. Now a widower, he falls in love with a young widow named Jenny Sidonia (Kristin Scott Thomas). He even wants to learn something about opera and ballet and the other kinds of things she knows so well, although on a date, he does insist on leaving a smart nouvelle-cuisine restaurant and taking her to a small cafe for a hearty feed of eggs and sausage and chips. Jenny has to admit the odd fellow is ""like no one else."" Completely smitten, Titmuss buys as a formidable wedding inducement Rapstone Manor, the mansion that loomed so large in his impoverished childhood.
+The good citizens of Rapstone, nearly all colorful eccentrics, have already started protesting Government plans, in cahoots with real-estate agents, for a huge development project in the area. Actually, now that he will be returning to Rapstone, the anything-for-a-profit Titmuss begins assuming a not-in-my-backyard stance, but as usual he will have to be underhanded to get his way. Ambitious twits back at the party offices, Etonian types despised by Titmuss, would not mind seeing their boss embarrassed.
+His fictional machine set in motion, Mr. Mortimer uses this collection of colorful characters to tweak the pretensions and idiocies of everyone from politicians to crusaders for animal rights. There is, for instance, the hefty young woman who, when forced to choose between having sex with her husband or continuing her sessions with a Government marriage counselor, swallows hard and swears she will do right by her husband. One or two characters in the Home Office are so slimily despicable that Mr. Mortimer seems eager to take a shotgun to them, as he eventually does.
+Be assured, Titmuss remains gloriously vile. His mean little soul is far too warped to harbor the possibility of redemption for long. His nastiness is compulsive, his quest for revenge obsessive. Fans will not be disappointed. Masterpiece Theater Titmuss Regained
+Directed by Martyn Friend; written by John Mortimer; designed by Bill Palmer; a New Penny production by Jacqueline Davis for Thames Television, in association with WGBH/Boston; Lloyd Shirley and Brian Walcroft, executive producers; Rebecca Eaton, executive producer for ""Masterpiece Theater."" Sunday at 9 P.M. on Channel 13, at 10 on Channel 49 and at 11 on Channel 21. Leslie Titmuss . . . David Threlfall Jenny Sidonia . . . Kristin Scott Thomas Hector Bolitho Jones . . . Bill Oddie Ken Cracken . . . Peter Capaldi Dr. Fred Simcox . . . Paul Shelley Sue Bramble . . . Jane Booker Joyce Timberlake . . . Holly De Jong Virginia Beazley . . . Tricia George Sir Willoughby Blane . . . James Grout Dot Curdle . . . Rosemary Leach 'Kathleen Battle and Wynton Marsalis Baroque Duet'  PBS Tonight at 9
+Assembled by Susan Froemke, Peter Gelb, Pat Jaffe and Albert Maysles, this is a ""performance documentary"" about the soprano and the trumpet virtuoso as they work to record a new album. They are seen separately with their families -- Miss Battle movingly sings ""I Trust in God"" in her Ohio hometown church -- and together in demanding rehearsals. A formal performance session, with the St. Luke's Chamber Orchestra conducted by John Nelson, offers works by Bach and Handel. All in all, a shrewd and often thrilling showcase for two masterly stars. 'XVI Winter Olympic Games'  CBS Tomorrow at 8 P.M.
+The opening ceremonies, taped earlier in the day in Albertville, France, will give CBS an opportunity to convince viewers that the gigantic publicity campaign of the last month wasn't just kidding. Over 16 days, CBS coverage will total 116 hours. For the insatiable, cable's TNT will carry an additional 45 hours on weekdays. Share a moment, indeed. There are more than enough to go around."
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+""Stalin,"" the nearly three-hour HBO Pictures presentation having its American premiere tomorrow at 8 P.M., is a grandly ambitious and lavish project, much of it filmed within the Kremlin even as the Soviet Union was coming unglued in the final months of 1991. Robert Duvall plays the title role. The director is the Czechoslovak-born Ivan Passer (""Cutter's Way""); the director of photography is the Hungarian-born Vilmos Zsigmond (""Close Encounters of the Third Kind""). The supporting cast comes from an international A-list.
+So what went wrong?
+I suspect part of the problem grew out of the production logistics. A great deal of effort was expended on obtaining authorization to film in and around Moscow, and the crews never knew if any given day would be got through without some unexpected delay. Further, thought had to be given to how the film would play in the world market, not least in Russia itself. While the monstrousness of Stalin is hardly played down -- even Russian historians are nowadays exposing the grimmer details -- the film too often seems to be walking on diplomatic eggs.
+And then there is the superficiality, a familiar culprit in just about any historical film epic. ""Stalin"" begins in 1917. Before the opening credits are completed, we see Iosif Vissarionovich Dzugashvili, born 38 years earlier in Gori, Georgia, returning from exile to join the inner circle of Lenin (Maximillian Schell). The stage is set as Stalin the brutish peasant begins muttering darkly about enemies, chief among them the Jewish intellectual Trotsky (Daniel Massey). This biography then begins jumping quickly to significant years, each with an important anecdote or two to be illustrated. Hitler and World War II are reduced to a smattering of newsreel clips.
+Encased in acrylic makeup and a properly imposing mustache, Mr. Duvall seems trapped in this portrait of nearly unrelenting evil somewhere between ""The Godfather"" and ""Potemkin."" He strives to give the character at least an occasional touch of humanity, but usually ends up retreating behind a curtain of mystery. In at least one dance scene, he limits his choreography to some curious hand gestures that seem inspired by Anna May Wong.
+But then, few in the cast are able to transcend the film's burden of one-note characters, most of them sounding like the old-time character actor Akim Tamiroff. Some exceptions: Julia Ormond as Nadya Alliluyeva, Stalin's spirited and doomed young wife, and Roshan Seth as Lavrenti P. Beria, the coldly ambitious executioner. A postscript notes that ""Stalin's crimes caused the deaths of tens of millions of Russian lives."" Perhaps no movie, even a long one, can encompass that enormity. 'Pavarotti and  the Italian Tenor'  PBS, tonight at 9. (Channel 13 in New York.)
+Posing as an essay on the art of the tenor, this bit of skillful puffery is really just an excuse to spend 60 minutes with the ebulliently ingratiating Luciano Pavarotti. He is joined by his father, Fernando, whom he says could also have had a career as a tenor, in song, playful bickering a discussion of artists who influenced them. (Father prefers Benjamino Gigli; son cites Giuseppe Di Stefano.) In performance, the younger Pavarotti offers four works he has never sung in public. And for good measure, there's a clip of Enrico Caruso singing in a 1918 movie called ""My Cousin."" 'Deadly Matrimony'
+NBC, Sunday and Monday at 9 P.M.  (Channel 4 in New York.)
+""Inspired"" by a true story, this four-hour movie, tautly directed by John Korty, is about a powerful Chicago mob lawyer and the police sergeant who is determined to prove him a wife-killer. Corrupt cops and judges, flashy mistresses, kinky sex games: the terrain isn't exactly unfamiliar. But Treat Williams as the lawyer and especially Brian Dennehy as the policeman bring remarkable energy and menace to the old game of cat-and-mouse. Stalin  HBO, Saturday at 8. Directed by Ivan Passer; written by Paul Monash; director of photography, Vilmos Zsigmond; music by Stanislas Syrewicz; produced by Mark Carliner and Ilene Kahn for HBO Pictures Josef Stalin . . . Robert Duvall Nadya Alliluyeva . . . Julia Ormond Bukharin . . . Jeroen Krabbe Lenin . . . Maximillian Schell Nadya's mother . . . Joan Plowright Nadya's father . . . Frank Finlay Beria . . . Roshan Seth Trotsky . . . Daniel Massey Krupskaya . . . Miriam Margolyes Sergo Ordzhonikidze . . . Jim Carter Svetlana . . . Joanna Roth"
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+""So You Want to Be a Doctor?,"" at 9 P.M. on Channels 13 and 49, is the next best thing to going to medical school. The two-hour report, the second installment of a planned 10-year examination of medical education, is a you-are-there at Harvard Medical School, an anatomy lesson in the school's curriculum, a psychology lesson in the reactions of seven students as they are faced with courses and cadavers, clinics and clients.
+All these young women and men are achievers, but medical school tests them in new ways, compelling them to diagnose their own strengths and limitations as they learn to diagnose the ailments of others. Harvard's New Pathway curriculum takes the future doctors out of the classroom and into the clinic before they can say Hippocrates, and the camera stays close and catches revealing moments.
+One student, Jane, begins crying when asked to cut up a cadaver, which ""looked so lifelike and so real."" Another, Dave, tells of his discomfort at practicing a pelvic examination on a plastic model. The freshmen meet patients after only two weeks, and self-confidence comes hard. Jay seems to speak for most of the students when he says he is afraid a patient will take one look at him and holler, ""Get this incompetent away from me!""
+In opening up the workings of an important institution through personal experiences, tonight's program, produced by Michael Barnes for ""Nova,"" does well one of the things that television documentaries can do best. Straightforwardly narrated by Neil Patrick Harris, of ""Doogie Howser, M.D.,"" it captures the shakiness of bright young people trying to cope with too much new information and too many unsettling experiences.
+Much of the first hour focuses on Tom, a Bronx man who came to medical school at the age of 31 after several of life's knocks -- a divorce, an injury and years of hard work. He finds it more demanding than anything he has ever done and breaks the tension with a joke now and then. Confronted with what he recognizes as a liver, he cracks, ""You need a lot of onions for this.""
+Of course there are rewards. Speaking about her first interview with a patient, Jane says, ""Very few people in this world have the honor of listening to people's most innermost thoughts."" Jane, who admits she isn't much of a scientist and finds drawing blood the hardest task she has been set in medical school, concedes that one of the reasons she is there is, ""I'm a little nosy."" It's enough to give patients a new perspective on their doctors.
+At the same time that you are getting to know the students, they are getting to know one another well enough to worry together over how they are going to pay off their big loans. By the end of their second year, even closer connections are made. One woman says, ""These diamond rings start flying like popcorn."" By then, too, they are ready for the student show, which features a takeoff on a number from ""Fiddler on the Roof"": ""The intern! The intern! The physician!""
+You can see the future doctors getting to know themselves, too. In one scene, Elliott is helping out in a caesarean section; he says he is thinking of becoming an obstetrician-gynecologist because ""it's a happy specialty."" Later, in a pause during a set of tennis, Elliott says he is leaning toward anesthesiology, partly because ""it pays well and it's got a good life style."" Doctors are human, too.
+It is easy to empathize with Tom, Jane and the others as they advance uncertainly into emergency rooms and operating room. The evening's most dramatic scene comes toward the end when Jane assists at a coronary-artery by-pass graft on a patient whom she has just been been interviewing. He dies on the table, and Jane can't help thinking that she has brought him bad luck. But of course she knows it was only a routine lesson that death is as much part of doctoring as birth. Nova: So You Want to Be a Doctor? Produced by Michael Barnes for Nova; Paula Apsell, director of the WGBH Science Unit and executive producer of NOVA; Neil Patrick Harris, host. At 9 P.M. on Channels 13 and 49."
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+In 1989, Hedrick Smith, a former Moscow correspondent for The New York Times, traveled around what was then still the Soviet Union in search of the political, economic and social changes wrought by the famous team of glasnost and perestroika. The result was an enlightening PBS series, ""Inside Gorbachev's U.S.S.R.""
+A few weeks ago Mr. Smith returned to see how some of the people he met on that earlier trip were getting along. ""After Gorbachev's U.S.S.R.,"" at 9 o'clock tonight on Channels 13 and 49, digs into the reasons for the hardships and disarray in the lately separated republics and comes up with emphasis on the tensions between entrenched bureaucrats, a new cadre of ambitious so-called privatizers and reform-minded but cautious young officials. It is a timely tour with a practiced guide.
+Wherever he goes, Mr. Smith finds friction. At a food store in Moscow, angry shoppers blame Russia's President, Boris N. Yeltsin, for raising prices beyond their means. ""If he wants a civil war, he'll get it!"" one man explodes. In Yaroslav, 250 miles from Moscow, Mr. Smith revisits a state farm, whose manager, a one-time reformer, is now clinging to the perquisites of the old order. A struggling private farmer complains that the powerful state farm is denying him the land and feed he needs to compete.
+Economic paralysis is exemplified by a big factory in Siberia, which is still owned by the state but can no longer obtain raw materials or orders. The difficulty is compounded by the breakup of the Soviet Union and the ensuing breakdown of relations between the republics. The acting factory director says, ""You can't make a condenser out of freedom.""
+The man of the future in the new Russia may be Mark Masarsky, who was a budding capitalist when Mr. Smith met him in 1989. On that visit he seemed to be an idealist who was offering workers high wages and a share in his business. Today he claims to be a millionaire and concedes that he has changed his views about the possibility of collective ownership. He says: ""There is no higher law than private ownership of property. Private property is the same kind of brilliant human discovery as the wheel and fire."" The camera finds Mr. Masarsky making a deal with Deputy Prime Minister Yegor T. Gaidar, Russia's economic czar, for the output from a gold mine. They sound like businessmen anywhere.
+The problems of reform-minded local officials trying to break out of old ways come through most clearly in the Moscow working-class district of Brateyevo. Even as they strive to loosen the bonds of Communism, the reformers worry that too quick or complete a shift to capitalism will only increase injustice. ""Today,"" one of them grants, ""no one has anything."" His fear is that ""tomorrow someone will have something, but the absolute majority of people will have nothing.""
+Lacking the resources or the power to bring people the housing, food, goods and services they want, the reformers leave Mr. Smith and his viewers with the warning that the newborn Russian democracy is vulnerable from many sides. The Trial of Lee Harvey Oswald  A&E Monday-Friday at 10 P.M.
+Like a straggler who gets into a race long after it has started, the Arts & Entertainment network has embarked on a weeklong series called ""The Trial of Lee Harvey Oswald.""
+The five programs, at 10 P.M. every night through Friday this week, were made in 1986 and have already been seen on cable. A courtroom format is used to review the much-reviewed evidence about the assassination of President John F. Kennedy, with Vincent T. Bugliosi, the prosecutor in the Charles Manson case, playing the prosecutor, and Gerry Spence, Imelda Marcos's lawyer, in for the defense.
+Tonight you can hear the argument for the single-bullet theory. The defense opens its case tomorrow, and on Friday a group of Texans impersonating a jury will deliver their verdict. Also on Friday, the stunt concludes with a new documentary, ""Who Killed J. F. K.: On the Trail of the Conspiracies."" Believe it or not, it contains an interview with Oliver Stone.
+If you need more, tonight at 8 on Channels 13 and 49 and at 9 on Channel 21, ""Nova"" repeats ""Who Shot President Kennedy?"" No definitive answer is forthcoming in this hourlong documentary, but the enhanced photographs show why so many doubts linger. Frontline After Gorbachev's U.S.S.R.  Produced by Marian Marzynski; David Fanning, executive producer; Hedrick Smith, correspondent. At 9 tonight on Channels 13 and 49."
+False,False,True,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,True,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,True,False,True,True,True,False,True,True,False,False,False,False,True,False,True,False,True,True,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,True,False,True,True,False,False,False,True,False,True,False,True,True,False,False,True,True,True,True,False,False,False,True,False,True,False,False,False,True,True,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; Remarkable Friendship Of 3 Remarkable People
+Three old pros take over ""Masterpiece Theater"" this Sunday night to illuminate ways of life and methods of acting that regrettably have become endangered species. Hugh Whitemore has adapted ""The Best of Friends"" from his own play, which was staged in London in 1988.
+With a script largely culled from letters, this true story explores the remarkable friendship of three quite unusual people. John Gielgud, 88 years old, portrays Sir Sidney Cockerell, curator of the Fitzwilliam Museum at Cambridge University. Wendy Hiller, 80, is Laurentia McLachlan, the Abbess of Stanbrook Abbey. And Patrick McGoohan, a mere 65, impersonates the playwright George Bernard Shaw.
+Sir Sidney met Dame Laurentia (the Dame is a religious title) in 1907 when he visited her abbey to see a rare Book of Psalms. He later introduced her to Shaw, whom he met in 1889. For the next several decades, stretching clear through World War II, they nurtured the kind of friendship that can be maintained only, in Sir Sidney's words, ""by constant thought, by visits, by little services and by abounding sympathy.""
+Sir Sidney admits he never kissed a woman until he was 28, and he didn't marry until age 40. Nine years later, after bearing three children, his wife took to her bed as an invalid for the rest of her rather long life. Shaw, who looked on sex as ""hopeless as a basis for permanent relations,"" sees his wife end her days as an invalid with lumbago. Dame Laurentia sits in her cloistered world and explains that ""we look upon the grille as a barrier not to keep us in but to keep you out."" For her, the crucial question is: What kind of people are the most free, or the least caged?
+Performing on a fluid set of connecting rooms that can serve as anything from a drawing room to an abbey cell, the actors wander about easily, sometimes addressing one another directly but never touching. Somewhat in the manner of a string trio, there are set pieces and motifs. For instance, the irreligious Shaw (""I'm too much in sympathy with all the world's great religions to adhere to any single one"") might describe, impishly but with feeling, a visit to the Holy Land. Or all three might suddenly decide to sing Gilbert and Sullivan's ""Tit Willow.""
+Mr. McGoohan manages to make Shaw ingratiatingly testy. Gielgud turns Sir Sidney into a perfect model of British sophistication of the self-deprecating sort: ""However successful I may have been as a museum official, I am in most respects a quite insignificant person. I haven't a spark of imagination. Perhaps that's why I've always tried to be with people better than myself."" And the luminous Miss Hiller's very presence brings an added dimension to the production. A favorite of the real Shaw, the actress had great success starring in the film versions of his ""Pygmalion"" and ""Major Barbara.""
+In the end, ""The Best of Friends"" has those attributes that Sir Sidney ascribes to being a gentleman: unswerving integrity, consideration for others, generosity on the sly. A different age, certainly, but no less seductive.  'Gilligan's Island'  TBS, tonight at 8:05
+Canceled by CBS 25 years ago after 3 seasons and 98 episodes, ""Gilligan's Island"" has since lived on in reruns, becoming a cult classic if only as a touchstone for how dopey a television series can be. This is the pilot that never was broadcast, presumably because even the network thought it was idiotic. The theme song and three of the castaways are different, but the core cast is here: Bob Denver, Alan Hale Jr., Jim Backus and Natalie Schafer. The insatiable can stay tuned at 8:35 P.M. to watch the 1978 television movie ""Rescue From Gilligan's Island."" Masterpiece Theater The Best of Friends  PBS, Sunday at 9 (Channel 13 in New York) Directed and produced by Alvin Rakoff for London Films; written by Hugh Whitemore; production designer, Eileen Diss; Rebecca Eaton, executive producer; Alistair Cooke, host. Sir Sidney Cockerell . . . John Gielgud Dame Laurentia McLachlan . . . Wendy Hiller George Bernard Shaw . . . Patrick McGoohan Girl in Search of God . . . Amma Asante Mohammed . . . Alan Rowe Conjurer . . . Paul Keown"
+False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,True,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,True,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Pair of New Sitcoms, One Warm and One Weird
+How do you prefer your American family, warmly amusing or wacko ridiculous? As far as television sitcoms are concerned, it's largely a matter of which network you choose to watch.
+Traditionalist ABC, for instance, has a new series, Tuesdays at 9:30 P.M., called ""Room for Two,"" about a mom named Edie (Linda Lavin) getting reacquainted with her adult daughter Jill (Patricia Heaton). Old-style wisecracks are blended with inevitably touching moments. Warm. Tiresome, but warm.
+Scrambling Fox, on the other hand, is bringing on line, this Sunday at 10 P.M., ""Stand by Your Man,"" adapted from a British series called ""Birds of a Feather."" Two New Jersey sisters, living on opposite sides of the track, are forced to move in together when their husbands are imprisoned for bank robbery. Wacko and, in the relentless manner of ""Married . . . With Children,"" happily vulgar, in what the press agents refer to as ""the Fox tradition of cutting-edge comedy."" That means the wit is about as subtle as a machete.
+It's not, mind you, that ABC's conception of mom is still stuck in the ""Father Knows Best"" days of burned-pot-roast crises. Ms. Lavin's Edie is no wilting widow. Arriving in Manhattan from Dayton, Ohio, she wastes little time telling her daughter, the producer of a television show called ""Wake Up, New York,"" that her late dad's store was not his life. ""It was his hobby,"" Edie says. ""Drinking was his life, and that store was Daddy's dream, not mine."" Furthermore, after his death, Edie wasted little time having ""a rather intense few weeks"" with a divorced neighbor. ""Mindy's dad,"" the aghast Jill shrieks.
+So, sitting in the audience for her daughter's show, the outspoken Edie can't help speaking out about the ridiculous clothes being touted by a fashion designer and, of course, is immediately offered a job as a regular real-person commentator on ""Wake Up, New York."" Even Edie has to admit that ""it's an unbelievable opportunity that shows up about as often as Brigadoon."" Will Mom find her own apartment? Will she be able to adjust to her new life? Will the daughter be able to lead a life of her own? And tonight's is only the second episode.
+Says Rick Kellard, one of the show's creators and, along with Ms. Lavin, one of its executive producers, ""We're trying to show real events and real milestones in people's lives, things that are funny in real life."" Oh.
+The Fox folks are obviously not so highfalutin. As fat-and-sassy Lorraine (Rosie O'Donnell) enters her run-down mobile home, her husband, Artie (Rick Hall), is shoving his latest girlfriend out the window, insisting he can hear the P.M.S. in his wife's voice. There is some passing business about bikini underwear bearing the initials I.G.; stands for Indira Gandhi, Artie swears.
+Meanwhile, Lorraine's social-climbing sister Rochelle (Melissa Gilbert-Brinkman) is living in relative splendor with her husband, Roger, self-described ""premier builder of patios and enclosures in all of New Jersey."" The visiting Lorraine exclaims, ""My God, this place is unbelievable, like something out of 'Knots Landing,' and to think you used to be in that little apartment with all the asbestos.""
+Rochelle's neighbor, Adrienne (Miriam Flynn), is a seemingly proper and pointedly snooty type who, when not cavorting with Ramon the gardener, spends most of her quieter moments watch pornographic videos. Taking a peek at one of the tapes, an impressed Lorraine notes that ""they don't waste much time, do they?"" ""Not the good ones,"" Adrienne says, ever so sweetly.
+When the husbands are caught in a bank robbery and put away for eight years, Rochelle is heartbroken but Lorraine suggests having a party. Long willing to settle for a house ""that couldn't be tipped over on Halloween,"" Lorraine agrees to move in with her sister so they can face life and Adrienne's visits together.
+With the humor shuttling nonstop between naughty vaudeville routines and the toilet, ""Stand by Your Man"" may finally give Fox its often sought and just as often failed opportunity to duplicate the relative success of ""Married . . . With Children."" Any success at Fox is at a premium these days. Just glance toward the bottom of the ratings charts."
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+After years of exile amid the fleshpots of Republican Administrations, Ben J. Wattenberg seems to be going home to the Democratic Party. Or, as he prefers to characterize the situation, it has come home to him and other disaffected Democrats. ""The Democrats, 1960 to 1992"" -- the first of two programs called ""America's Political Parties: Power and Principle"" -- is his account of the ups and downs and, as he sees it, this year's up of Democratic fortunes.
+Mr. Wattenberg, a newspaper columnist and television commentator who served in the Administrations of Lyndon B. Johnson and Jimmy Carter, identifies with the traditional Democratic coalition that was shattered by what he calls ""the cause groups"" that gave Senator George S. McGovern the Presidential nomination and, in Mr. Wattenberg's opinion, the resounding defeat of 1972. He says that to the blue-collar workers and others who had been the party's mainstay, the new Democrats seemed ""too soft, too liberal, too permissive, too squishy.""
+Most of the program's news clips are familiar, and the interviews with such past and possibly future players as Mr. McGovern, Walter F. Mondale, the Rev. Jesse Jackson, Gary Hart and Geraldine Ferraro will knock no one off the couch. But the Wattenberg point of view -- that of the alienated Democrats who created the Coalition for a Democratic Majority -- comes through clearly enough.
+For him, the 1992 Bill Clinton-Al Gore ticket represents a movement back to ""opportunity, community, responsibility"" that can once again appeal to Democrats who found themselves voting for Ronald Reagan and George Bush in the 80's. Mr. Wattenberg seems to take particular satisfaction in the way ""Clinton stiffed Jesse Jackson and the left.""
+Next week, David Gergen, who served in the Nixon, Ford and Reagan Administrations before ascending to ""The MacNeil/Lehrer Newshour,"" gives his view of ""The Republicans, 1960 to 1992,"" focusing particularly on the tension between moderates like himself and right-wingers like Pat Robertson and Patrick J. Buchanan. Tonight, he joins Mr. Wattenberg briefly for amiable chats, during which Mr. Gergen calls Mr. Clinton ""a Reagan Democrat.""
+Paid for largely by conservative foundations, these accounts of the last 32 years of American politics from a centrist position should comfort those who criticize public broadcasting for a chronic tilt to the left. On that subject, I detect an effort by PBS to open things up this election season. Maybe the programmers are tired of being accused of being too soft, too liberal, too permissive, too squishy.
+Anyway, no one can complain of a dearth of political programs. ""The Democrats"" is followed on Channel 13 tonight at 10 by ""Move Over: Women and the '92 Campaign,"" which can be seen at 9 P.M. on Channel 49. On Sunday, at 10 P.M., CNN will show ""The Battle to Lead: Bill Clinton of Arkansas,"" and on Oct. 25, it will pay similar attention to his opponent on ""The Public Mind of George Bush."" 'The Two Coasts of China' 'Asia and the Challenge of the West'  PBS (Channel 13 in New York, tomorrow at 6 P.M.)
+Granted, a history of China could easily fill 10 hours of television. But faced with compressing it into a single hour, as part of an even more ambitious project, the producers of this documentary have found an approach that works.
+Tomorrow's enlightening opener of ""The Pacific Century,"" a new 10-part PBS series, focuses on the tension between the insular vision of China's rulers in the interior and the outward reach of traders along its coast. The overview is no doubt simplified, but it is not simplistic. Conceived by Frank Gibney, an Asia specialist who also appears as a resident expert, the program is intelligently focused, and the production turns his thesis into a colorful tale.
+Embellished by a mix of archival materials and up-to-date photography, ancient scrolls and scenes from recent movies, maps and interviews, the story begins with the 13th-century Mongol invasion. Everyone knows the Mongols were warriors, as movie clips of Genghis Khan's galloping riders attest; but Mr. Gibney emphasizes that they were also traders who established a direct route between China and Europe and the Middle East.
+But when they left China in the 14th century, the Mongols were replaced by the Ming Dynasty, which mistrusted the outside world. The Great Wall stands as a symbol of the Ming efforts to keep foreigners at bay, and the heritage of inwardness was passed on to the Manchu invaders. But no wall could keep out the capitalists. Their influence can still be seen in the views of bustling Guangzhou, formerly Canton, where merchants prospered from trade with the West.
+This rich history, richly presented, ends in Hong Kong, that glittering symbol of international trade and finance, which is to be taken back from Britain in 1997. The question viewers are left with is how the conservative men in Tiananmen Square will deal with the contemporary Mongols in business suits. A rock video singer cries, ""Come soon, 1997/I want to have a wild time!""
+Next week, the subject is Japan (which will also be featured this month on TBS in ""Portrait of Japan,"" on Oct. 26 and 27). Then the series sweeps through Vietnam and Indonesia, South Korea, Singapore, Taiwan and the Philippines, with return visits to China and Japan today. I haven't watched them all, but if they come up to the quality of ""The Two Coasts of China,"" your time will not be misspent, although their scheduling by Channel 13 at 6 P.M. Saturdays may seem inscrutable.
+Mr. Gibney's companion book, ""The Pacific Century: America and Asia in a Changing World,"" has just been published by Charles Scribner's Sons. The series is also being offered as a college-level video course, and videocassettes are on the market. The Western traders are at it again. 'The Missiles of October What the World Didn't Know'  ABC, tomorrow at 9 P.M. (Channel 7 in New York.)
+This two-hour report makes the case that the Cuban missile crisis brought the world much closer to nuclear war than most people realized 30 years ago, or realize today. Through tape recordings of President John F. Kennedy's executive committee of the National Security Council and interviews with American, Soviet and Cuban players of the time, the documentary emphasizes what the decision makers did
+not
+know about their adversaries' actions and intentions. In particular, tomorrow's account emphasizes, President Kennedy did not know that the Soviet commander in Cuba had battlefield nuclear weapons and the authority to use them.
+From the American point of view, the discovery that the Soviet Union had shipped missiles with nuclear warheads to Cuba meant that most of the United States would be within range of a nuclear strike. From the Soviet Union's point of view, its missiles in Cuba were only a response to American missiles in Turkey, close to Soviet soil.
+President Kennedy is shown to have been under pressure from the Pentagon to strike first. Soviet Premier Nikita S. Khrushchev was under pressure from his ally, the Cuban President Fidel Castro, to shoot down an American plane or two. Peter Jennings quotes the Cuban leader's exhortation to the Soviet generals: ""The Americans are sneezing on you, just as much as they are sneezing on us.""
+""The Missiles of October"" is a cautionary reminder of how narrow and fuzzy the line can be between a nuclear strike and striking a deal. America's Political Parties: Power and Principle The Democrats, 1960 to 1992  PBS, tonight at 9. (Channel 13 in New York.) Written by Ben J. Wattenberg, Todd Brewster, Michael Pack, Daniel B. Polin; Andrew Morreale, editor; Doug Abel, associate producer; Todd Brewster, co-producer; produced and directed by Michael Pack and Mr. Polin for Manifold Productions, in association with the South Carolina Educational Television Network and Great Projects Film Company; Kenneth Mandel and Mr. Polin, executive producers; David Gergen and Ben J. Wattenberg, hosts."
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+""Journey to the Occupied Lands"" gives a Palestinian-eye view of life under military occupation. Farmers tell Michael Ambrosino, the producer and reporter of the 90-minute documentary, of having their property confiscated for military purposes or for the benefit of Jewish settlers, and of enduring daily harassment by the authorities.
+Particular attention is paid to the 100,000 Jewish settlers who now live on the West Bank and in Gaza, with 50,000 more on the way. Assisted by state subsidies, they have built attractive suburban communities with amenities beyond the reach of most Palestinians. The camera pans slowly to give a sense of the settlements' size and the way they have changed the landscape. An Israeli official calls the sites ""state land,"" but a Palestinian negotiator in the current peace talks says, ""All the settlements are illegal.""
+The legalities of property rights may be cloudy, but Mr. Ambrosino's sentiments are clear enough. The issue as presented here is between ungiving Jewish settlers, backed by state power, who base their claims to what they call Judea and Samaria on the Bible, and powerless local farmers who base their claims on generations of use. The Palestinians' advocates on the Israeli left, whose outlook Mr. Ambrosino finds congenial, say the Arab residents are being deprived of their rights and abused in ways that diminish Israel's status as a democracy.
+In a technique common to television, the camera makes its own contrasts: between Palestinians scrabbling for existence and Jews living comfortably in their tidy communities; between Palestinian workers lining up for inspection and Israeli officials delaying shipments of the Palestinians' farm produce, between Palestinian civilians under close watch and Israeli soldiers waving clubs.
+Zalman Shoval, Israel's Ambassador to the United States, is given time to offer the Israeli point of view, particularly its security concerns, with diplomatic moderation. But an official spokesman is no match on the tube for a farmer in his field.
+Mr. Ambrosino speeds past the history of the area and its occupation and does not pause over the political divisions and internecine murders among the Palestinians or the pressures on them from their putative Arab allies. An Israeli officer's emphasis on the need to fight terrorism is treated as a pretext for torture.
+Whatever Mr. Ambrosino's predilections, the Palestinian case plainly demands attention, and the complications presented by the Jewish settlements in negotiations about autonomy have to be faced. This provocative ""Frontline"" invites rebuttal, but it does bring home the pains of occupation for the occupied and its stains on the occupier. 'The Deadly Deception'
+Channel 13, tonight at 8
+In 1932, 400 black sharecroppers in Macon County, Ala., were lured into a Public Health Service research study with the promise that they would be treated for ""bad blood,"" a euphemism for syphilis and other ailments. They were in fact given only placebos. The study went on for 40 years, during which a score or more died as a result of untreated syphilis. Tonight ""Nova"" tells the chilling story of the Tuskegee Study of Untreated Syphilis in the Negro Male.
+One of the Public Health Service doctors involved still defends the study as an effort to improve the quality of care for black men. The most benign view offered by the program -- which benefits more from the pictures of rural Alabama in the 1930's than from some awkwardly staged scenes from ""Miss Evers's Boys,"" a play based on the case -- is of a paternalistic project that went wildly out of hand. But the medical historians interviewed agree that the reason that consent was not sought and the study not questioned for many years was connected with the fact that the subjects were black and poor.
+The study produced little if anything of significance. The reactions of two survivors, remarkable for their mildness, strike the conscience. One says, referring to the authorities who denied him a chance at being treated: ""They ought to have been ashamed of theirself. I wouldn't have did them like that."" 'The Gay 90's:  Sex, Power and Influence""
+NBC, tonight at 10 (Channel 4 in New York)
+On tonight's edition of ""First Person,"" Maria Shriver focuses on several homosexual couples in various parts of the country who are trying to make their lives in their own ways. Some are taking advantage of the nation's increasing openness to their relationships; others are still fighting local antipathies and legal constraints.
+Dan and Dave are seen enjoying quiet domesticity; Dan says the AIDS epidemic has brought ""a new celibacy"" to homosexuals. Sharon is seen caring for her lover, Sidd, who is suffering from multiple sclerosis. Kate tells of fighting successfully for medical and dental coverage for her companion, Leonie. Renee and Nadja, who are already raising one child, are trying to have another by artificial insemination. Jim and Jimmy, harassed by small-town hostility, have split up, their business close to bankruptcy.
+Without rubbing it in, Ms. Shriver gets across the point that although homosexuals may still be seen by many as different, their desires for a loving home and ambitions for a successful career are undistinguishable from those of straight America. Frontline Journey to the Occupied Lands  PBS, tonight at 9  (Channel 13 in New York) A report directed by Gillian Barnes; produced by Ms. Barnes and Michael Ambrosino; edited by Eric Handley; reporter, Mr. Ambrosino; executive producer for ""Frontline,"" David Fanning; presented with the Documentary Consortium (WGBH/Boston, WTVS/Detroit, WPBT/Miami, WNET/New York, KCTS/Seattle)."
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+Together for the first time! Starring, in alphabetical order, Tom Brokaw of NBC , Peter Jennings of ABC , Robert MacNeil of PBS, Dan Rather of CBS and Bernard Shaw of CNN ! All in a single hour! This coup of television journalism, tonight at 9 on Channel 13, is in the cause of freedom of speech.
+Most of ""Dangerous Assignments,"" produced in cooperation with the Committee to Protect Journalists, is given to recounting the troubles of three brave reporters. The committee, not tonight's stars, has done the reporting.
+The first and most serious case, narrated by Dan Rather, tells of the events leading up to the 1988 assassination in Peru of Hugo Bustios, who was gunned down while trying to cover an incident in the atrocity-filled war between the guerrillas of Sendero Luminoso, or Shining Path, and the Peruvian Army. The case made here, with the help of witnesses, puts the blame on the army; the prosecutor assigned to investigate has done nothing. An exasperated judge asks, ""How can the police investigate the army?""
+The events are laid out clearly and dramatically. Enrique Zeleri, the editor in chief of Caretas, the publication for which Mr. Bustios wrote, says that when they were shot, Mr. Bustios and a colleague were screaming: ""We're journalists. Don't shoot. We're journalists."" And he adds, ""Of course, that's why they were killed.""
+Mr. Jennings tells about the difficulties that Marites Vitug, a reporter in the Philippines, brought on herself with her charges that a millionaire timber tycoon has been using political influence to plunder the rain forest on the island of Palawan. He has filed criminal-libel charges against her, no small matter in a country where, Mr. Jennings notes, in libel cases ""you are presumed guilty until proven innocent.""
+And Mr. Brokaw is entrusted with the experiences of Max du Preez, who started Vrye Weekblad, the first Afrikaans-language newspaper in South Africa to oppose apartheid, thereby earning him the name ""Mad Max."" After he published reports about right-wing death squads, Mr. du Preez received death threats of his own and the newspaper office was bombed. Brought to trial under his country's Internal Securities Act, he was found guilty and fined. Several Government officials are now suing Mr. du Preez for libel; their costs are paid by the state. If he loses, he may have to shut down his newspaper, which seems to be the idea.
+In the final segment of ""Dangerous Assignments,"" Mr. Brokaw and Mr. Jennings are joined by Mr. Shaw, with Mr. MacNeil as moderator, to talk about freedom of the press. (They got together in December, when Mr. Rather was off reporting from the Middle East.) The producer might have been better advised to leave well enough alone. For the most part, the conversation of the anchors, although well intentioned, seems anticlimactic after the serious cases recounted here. At moments, as they recall incidents from their own reporting days, they seem to be competing among themselves and, in a discomfiting way, with the admirable subjects of the program.
+Lest anyone come away thinking that journalists in the United States are exposing all the stories that require exposure, ""Dangerous Assignments"" is followed on Channel 13 by ""Project Censored, With Bill Moyers,"" a report on a few of ""the 10 best censored stories of 1990."" The list, made public yesterday, is this year's edition of an annual compilation done under the auspices of Sonoma State University in California.
+High among the stories deemed insufficiently covered was the background to the conflict in the Persian Gulf; the multi-billion-dollar bailout of failing savings-and-loan institutions; the origins and consequences of the invasion of Panama, and George Bush's role in the Iran-contra affair.
+Mr. Moyers talks with Tim Weiner, whose reporting for The Philadelphia Inquirer on what he calls the Pentagon's secret budget for arms procurement brought him a Pulitzer Prize, and with Pete Brewton, who has been tracking down the looted savings-and-loan deposits for The Houston Post. In both cases, it is suggested, most of the mass media has fallen down on the job.
+He also talks to Dr. Helen Caldicott, the Australian environmentalist, who contends that the NASA space shuttle is destroying the ozone layer, and to Michael Levine, a former undercover agent of the Drug Enforcement Administration, who seems to be promoting his book, ""Deep Cover,"" about what he calls America's fraudulent war on drugs. The program leaves the impression that the mainstream press has not done their stories justice either.
+Although he notes that some critics call Mr. Brewton's reports ""poorly sourced,"" for the most part Mr. Moyers evidently buys the points of view as delivered. He neglects to note that he was a member of the Project Censored panel that chose the 10 best censored stories in the first place. It's good to have them broadcast, but considering the nature of the program, viewers may miss in the host a touch of the disinterested doubter so useful in the journalist.  Dangerous Assignments  Produced by the Mosaic Group in association with the South Carolina Educational Television Network; Judith Moses and Jan Legnitto, producers; written by Harry Moses, Judith Moses and Jan Legnitto; camera by Alex Zakrzewski, Dewald Aukerra and Scott Ransom; sound by Mark Roy and Tony Bensusan; Harry Moses, executive producer. At 9 tonight on Channel 13. WITH: Tom Brokaw, Peter Jennings, Robert MacNeil, Dan Rather and Bernard Shaw. Moyers Project Censored  Produced by Public Affairs Television; Betsy McCarthy, producer and director; Andie Tucher, co-producer; Michael Collins, editor; Kelly Venardos, researcher; Judith Davidson Moyers, executive producer; Bill Moyers, executive editor. At 10 tonight on Channel 13."
+True,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,True,False,True,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,False,True,True,True,False,False,True,False,True,False,False,True,True,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Fourth Amendment: Who Is Protected?
+The Fourth Amendment of the Bill of Rights may not be the most visually arresting subject for a television documentary, but the producers of ""Search and Seizure: The Supreme Court and the Police"" have found ways to keep things lively. In particular, the scenes of police
+not
+doing some searching and seizing of bad guys point up the tensions still aroused by a safeguard that Roger Mudd, the evening's reporter, calls ""central to the American idea of what the Constitutional protections ought to be.""
+The history of the Fourth Amendment, originally instigated by Boston smugglers as a way of fending off the King's customs agents, is lucidly laid out, and the program moves on, with the help of constitutional scholars, to the development of interpretations of the injunction against unreasonable searches and seizures and the requirement of probable cause for search warrants. To civil libertarians, the Fourth Amendment remains a basic protection against having police burst into your home or snoop on you at will; to many police officers and others troubled by crime, it has been distorted into a protection for criminals.
+Particular attention is necessarily given to the rule, adopted by the Federal courts in 1914 and extended to state courts in 1961, in the memorable case of Mapp v. Ohio: if the Fourth Amendment has been violated, any evidence thereby discovered cannot be used in a trial. In an interview with Mr. Mudd, Kenneth W. Starr, the Solicitor General, says he is no admirer of this exclusionary rule, and quotes Justice Benjamin N. Cardozo's famous question, ""Must the criminal go free because the constable blundered?""
+That question seems to have been much on the minds of the more conservative justices who replaced the Warren Court. They have relieved the police of some restraints, particularly in drug cases. The impression left by the program is that public concern is as much a factor as judicial philosophy in such rulings. Wayne LaFave, a law professor at the University of Illinois says, ""The drug scourge has really played hob with the Fourth Amendment."" He adds, ""We have fewer and fewer rights than we had a few years ago.""
+Mr. Mudd concludes an enlightening hour by drawing attention to the continuing difficulties of defining what the Founders might deem unreasonable in this era of technological snoopery, when peering through windows from afar, tapping telephones and examining personal records is as easily done as said. The experts differ, but viewers should be able to agree that the producers of ""Search and Seizure"" have seized the opportunity to do a searching report on an issue that touches all Americans. Search and Seizure The Supreme Court and the Police  PBS, 10 tonight (Channels 13 and 49 in New York) Written by Karen Thomas and Jack McDonald; Wayne LaFave, contributing writer; directed and produced by Ms. Thomas; Roger Mudd, correspondent and narrator. WITH: Nadine Strossen, Leonard Levy, Kenneth J. Starr, Wayne LaFave, A. E. Dick Howard, commentators."
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+A baseball fan need not possess too long a memory to recall $4.50 box seats, end-of-season salary drives by players to make $100,000 and talk that focused on home runs, trades and strikeouts, not arbitration, revenue-sharing and $7 million-a-year paychecks.
+The baseball season is one day old, and it is nearly impossible to avoid the incessant talk about how fraught with problems baseball is, from greedy owners fighting avaricious players to the glut of games shown on television.
+PBS's ""Frontline"" series weighs in tonight with ""The Trouble With Baseball,"" a languidly paced, comprehensible documentary that examines the game's myriad problems without resorting to the type of numbing micro-analysis that has drowned many phases of baseball.
+There is nothing new here. There are no shocking revelations. The numbers and issues are familiar. The characters are well known. But the producer, Michael Kirk, has wisely chosen to explain a few issues very simply and does not wax unduly long about the allure of the game. More important, he examines the issues on a human scale, through the stories of Carlton Fisk, the Chicago White Sox catcher, and Jerry Reinsdorf, the White Sox owner since 1981.
+A small number of talking heads describe the symptoms of baseball's sickness. Two of them, Peter Gammons, a Boston Globe and ESPN baseball correspondent, and Jack Sands, an agent and lawyer, collaborated on a new book, ""Coming Apart at the Seams,"" (Macmillan, 1993) and should thank ""Frontline"" for the publicity.
+As ""The Trouble With Baseball"" shows, Mr. Fisk was a great catcher with the Boston Red Sox before free-agency rules freed players from being owners' chattel. He signed with Mr. Reinsdorf in 1981 for $3 million through 1985, suffered when owners conspired for three years not to sign free agents and were fined $280 million; made $2 million in 1991, and re-signed with Mr. Reinsdorf this season, his last, for $650,000, which is $400,000 less than last year.
+""In 1992, Carlton Fisk made over a million dollars and played in about 50 games,"" Mr. Reinsdorf says. ""And I think Carlton Fisk was entitled to have a year when he got paid more than he produced, but not two years.""
+Mr. Reinsdorf plays the game of baseball business better than his peers. He is a confessed ""deal guy"" who will be remembered mainly for using a sweetheart deal from St. Petersburg, Fla., and a threat to move his team as leverage to force Illinois to finance a new $150 million stadium in which his White Sox play rent free. A law-school friend, Jim Thompson, happened to be the Governor of Illinois at the time.
+The contrasting tales of player and owner provoke an easy sympathy for the attractive Mr. Fisk, a hard-working 45-year-old Vermonter in the 24th season of a certain Hall of Fame career, who is battling Mr. Reinsdorf, a shrewd real-estate syndicator from Brooklyn who makes profits from baseball and denies hating Mr. Fisk. ""Frontline"" would have had a tougher time evoking sympathy if Mr. Fisk were replaced by younger and more arrogant players like Jose Canseco or Barry Bonds.
+""The Trouble With Baseball"" does not have enough time to excavate all that ails the sport. It delves little into the firing of Commissioner Fay Vincent and not at all into the expansion process.
+By not digging up the long and detailed history of mistrust between players and owners, which generally makes the owners look like craven simpletons, ""Frontline"" evokes pro-owner feeling for the Milwaukee Brewers owner, Bud Selig, a car dealer who struggles in a small market against larger-market teams whose local television income is many times greater. The issue pits owners who don't want to share their television bounties against those who need more revenue to stay competitive.
+""The Trouble with Baseball"" is not a rousing baseball-lover's pitch for the start of the season, filled with home runs and spectacular catches. For that, one can watch the syndicated program ""This Week in Baseball."" It is a somber, depressing look at a badly managed industry. And it offers no answers. Frontline The Trouble With Baseball  PBS, tonight at 9 (In the New York area, Channel 13 and Channel 49)  Written, produced and directed by Michael Kirk; Marina Kalb, associate producer; Paul Judge, reporter; Peter Rhodes, editor. For Frontline: Michael Sullivan, senior producer; David Fanning, executive producer."
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+At least one group of Americans have personal cause to welcome the change of Administrations in Washington. People with degenerative ailments like Parkinson's disease can look forward to an early reversal of President Bush's ban on the use of Federal money for research into fetal transplants, which scientists believe holds out a hope for the treatment of afflictions that until now have defied cure. The political conflict is a footnote to ""Brain Transplant,"" tonight's upbeat offering from ""Nova."" (The program was held back until the latest findings could be reported in The New England Journal of Medicine; they made headlines last week.)
+The story begins in California in 1982, when several young addicts who had taken factory-made facsimile heroin were suddenly unable to move or talk. Although their minds seemed normal, their bodies were frozen. Because the condition resembled the symptoms of Parkinson's, which usually strikes the elderly, Dr. J. William Langston of Valley Medical Center in San Jose, Calif., put them on the standard medication, a drug called L-dopa. It replaces dopamine, a chemical that occurs naturally in the brain and enables, for example, the thought of lifting an arm to be translated into the actual lifting. The treatment worked only for a time.
+Tonight's account shows how scientific developments in various parts of the world come together. In 1987, a Mexican surgeon reported on the transplant of a patient's adrenal cells, which make dopamine, from their location above the kidneys into his brain; the patient was reported to have improved dramatically. Dr. Langston asked, ""Could this be the thing that's going to really cure Parkinson's disease?""
+In St. Kitts, in the Caribbean, cells from the brain of a monkey fetus were implanted into the brain of a monkey that had been given Parkinson's; the disease was reversed.
+Dr. Langston's encounter with a Swedish doctor resulted in brain transplants in Sweden in 1989 for two of the California addicts, the program's climax. A detailed explanation of the care required to obtain cells from aborted fetuses and place them into the brain builds excitement. With the help of first-rate graphics, viewers can see the cells being deposited into precisely the right areas of the brain, and then they can see, via videos, the patients' improvement over a period of two years.
+Using Dr. Langston as a sort of participant commentator, ""Brain Transplant"" gets at both the scientific and human meaning of the years of research and experiment. The focus on specific patients brings home the death-in-life nature of the disease in its final stages and the sense of salvation when a treatment seems to work.
+As for ethical concerns, particularly the fear that abortions may be encouraged for the sake of obtaining the fetal material, the Swedes have set out a few rules that might serve America as well: a woman's decision to have an abortion should be completely separate from a surgeon's decision to perform a fetal transplant; the woman should not be allowed to direct her fetus to a particular individual; the donor and the recipient should remain anonymous; no money should change hands.
+Dr. Langston cautions against unrealistic hopes of large numbers of transplants in the near future; his young patients are far from typical. Yet this program is powerfully heartening. ""Nova,"" which first reported the story ""The Case of the Frozen Addict"" in February 1986, promises to return to the subject in time, with an assessment of how fully the prospects that have been awakened with the reawakening of a few patients' bodies are being realized. Nova Brain Transplant  PBS, tonight at 8 (Channel 13 in New York) Written, produced and directed by Jon Palfreman; Alexandra Anthony, editor; music by Peter Howell and the BBC Radiophonic Workshop; a production of WGBH in association with BBC-TV; Paula S. Apsell, executive producer, ""Nova""; Will Lyman, narrator."
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+Tonight's biography of Muhammad Ali, at 8 on the Arts & Entertainment cable network, catches the courage, independence and sharpness that made the boxing champion an admired figure outside the ring, too. The hour, with its scenes from the big fights and the hype that accompanied them, covers his career from his youth as an amateur boxer -- when he was still known as Cassius Clay -- to his gold medal in the 1960 Rome Olympics to his interrupted years as champ.
+There he is, doing his famous prefight theatrics, especially before the 1963 match with Sonny Liston that made him No. 1: ""The world did not dream when they laid down their money/That they would see a total eclipse of Sonny."" It wasn't just brashness. The challenger predicted he would win in five rounds, and Mr. Liston decided not to come out for the sixth.
+When Arthur Ashe, one of the admiring observers interviewed here, says, ""He talked for all of us,"" he is speaking less of the fighter's punchy rhymes than of his defiance of power and public opinion. In the 1960's he converted to the Nation of Islam and changed his name, a thumb in the eye to the white establishment. In 1965, as tonight's audience can see, he would take revenge in the ring on Floyd Patterson, who continued to call him Clay and seemed to represent the sort of respectable black athlete whites could easily root for. Mr. Ashe is pained by the victor's cruelty in that bout, when he taunted the battered Mr. Patterson and refused to end his pain and humiliation with a final punch.
+Mr. Ali's championship was lost outside the ring in 1967 when he was sentenced to five years in prison for refusing to be drafted because he opposed the Vietnam War. The sentence would be overturned, but his boxing career seemed ended at its height. His astounding comeback in the 1970's in tough fights against Joe Frazier and George Foreman, powerfully if briefly captured here, remains more than just a sports story.
+Dick Schaap, the sports reporter, expresses the feelings not just of fans but of many who couldn't care less about boxing yet were knocked out by the man himself, when he says the story would have ended on the right note if Mr. Ali had stopped when he took back the championship from George Foreman in 1974. After that there were downs and ups, ending with him showing the effects of so many years of blows to the head.
+Still, in 1978, the year that the 36-year-old Mr. Ali was beaten by and then beat Leon Spinks, he is seen telling the cameras: ""I'm actually a pretty man. I'm not conceited, I'm convinced."" The hour is convincing about both his beauty in the ring and his strength outside it. After all the clowning, Muhammad Ali ends up with his dignity intact. Biography Muhammad Ali
+Produced by Lilibet Foster for A&E/CEL Communications; Charles Grinker, executive producer; Peter Graves, narrator. At 8 P.M. on A&E. WITH: Arthur Ashe, James Earl Jones, Dick Schaap and Thomas Hauser."
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+The only laugh in ""Losing Control?,"" tonight's all-out alert on the risk of blundering into nuclear war, comes at the very end, when the narrator, Bill Kurtis, says earnestly, ""Our purpose here is not to advocate any definitive answer."" It's like having a car salesman tell you after an hour of browbeating that all he wants is for you to make up your own mind.
+The documentary, at 9 on Channel 13, centers on what it calls ""a plausible scenario"" of the United States and the Soviet Union caught in a nuclear exchange through some muddy set of calculations and miscalculations. Simulated scenes of television news reports of the crisis, which begins with a war between Syria and Israel, are interspersed with comments by real former officials, think tankists and others; most caution that the ever-increasing complexity of modern weapons combined with never-diminishing human fallibility makes nuclear war only too likely.
+Such warnings are not new. They have been heard since the end of World War II. The fact that no nuclear device has been set off in anger over nearly half a century has not laid the concern to rest; as the program notes, quite a number of countries, not all paragons of restraint, have what it takes to make a bomb, and others are catching up. But the role of nuclear arsenals in discouraging superpower conflict and encouraging the fall of dictatorships in Eastern Europe is not taken into account tonight, and the transformed relationship between the Soviet Union and the United States is skirted as an incidental obstacle to the program's premise.
+Whatever one's opinion of the need for nuclear weapons, the possibility that they could still be set off by mistake invites steady, thoughtful attention. That is not what it receives in this scare scenario, with its specters of buccaneering submarine commanders, drunken or doped-up soldiers, officials passing out from stress, an incapacitated President (then Dan Quayle would have his finger on the button!), a loss of communications, technology running amok and more. The hyped-up simulations and factitious script will seem plausible mainly to viewers who find docudramas persuasive. Others may resist buying even as appealing a used idea as a nuclear ban from anybody who gives this sort of sales pitch.
+The controversy over nuclear arms has always been shaped by attitudes toward American military power, and that comes through strongly tonight. Pentagonians like Richard Perle, a former Assistant Secretary of Defense, and Vice Adm. William E. Ramsey, retired, the former deputy commander in chief of the United States Space Command, are set up as targets for such practiced snipers at the military as Daniel Ellsberg and the Rev. William Sloan Coffin. Admiral Ramsey practically shoots himself, when he says, referring to war-by-accident, ""I just don't think it could happen."" Mr. Coffin, the head of SANE Freeze, delivers the program's final commercial for the destruction of all nuclear weapons and means of making them.
+At its most useful, ""Losing Control?"" draws attention to the built-in risks of having to make quick decisions in a crisis. Doctrines like pre-emptive strike and launch on warning (use 'em or lose 'em) demand understanding by mere civilians, and this the hour provides. Unfortunately, the loaded approach explodes credibility. The effect is more to excite than to elucidate. You wouldn't want the finger on the panic button to belong to the people behind this tendentious work. Losing Control? Produced by Gary Krane; Bill Kurtis, narrator. At 9 tonight on Channel 13."
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+""Private Matters,"" tonight's edition of ""48 Hours,"" is all about snooping: companies snooping on prospective employees, spouses snooping on each other, talk shows snooping on everybody.
+After lively if familiar segments about investigators using high-powered cameras, electronic tapping equipment and computers to pry on the unwary for commercial or domestic reasons or just for fun, the program focuses on a photographer for supermarket tabloids who is tracking down Delta Burke, the star of the new television show ""Delta,"" with the intention of catching her looking unattractive.
+Ms. Burke says she feels like a deer in hunting season. The photographer sustains the image: He says he is a ""modern-day bounty hunter"" who brings them back on film. He maintains that celebrities want to control publicity, and his job is to take the control away from them. Ms. Burke complains, but every time she spots him, she waves.
+A more serious issue is raised by Arthur Ashe, who tells the ""48 Hours"" correspondent, Richard Schlesinger, that he felt his privacy was violated when the fact that he has AIDS was made public. The question of when journalists should hold back information about well-known figures remains tricky, and in its usual jumpy manner, ""48 Hours"" does not pause long enough to get very far into it.
+Another interesting issue is raised by an amusing report on the Sally Jessy Raphael show, which specializes in encouraging its guests to bare all. Ms. Raphael says, ""People will pretty much tell you anything, especially if they are Americans."" So mothers come before the cameras to accuse their daughters of looking like sluts, and wives come on to accuse their husbands of acting like slobs.
+Richard Sennett, a sociologist of note, finds the results appalling: ""We're watching people being humiliated, debasing themselves."" But suppose those people don't mind a bit of humiliation as long as the cameras are working? One participant grants, ""I don't have too much pride."" (Ms. Raphael, by contrast, declines to talk to Mr. Schlesinger about her private life. If more people were that reserved, she'd be out of business.)
+Millions of viewers are no doubt titillated by such shows. Are they being somehow coarsened, with consequences for the society? No, you won't learn anything about that tonight. ""Private Matters"" is a skillfully put together show, but one wishes that now and then ""48 Hours"" would slow down and dig a little deeper. 48 Hours Private Matters  CBS, tonight at 10. (Channel 2 in New York.) Directed by Eric Shapiro; Mitch Weitzner, producer, Steve Glauber, senior producer; Andrew Heyward, executive producer."
+False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,True,False,True,True,True,True,False,True,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Fixing U.S. Economy At Home, Not Abroad
+Much as I'd like to call a work as pertinent, informative and sensible as ""Made in America?"" enthralling television, that would constitute misleading advertising.
+The four-hour documentary, presided over by Robert B. Reich, the prolific Harvard University political economist, has a lot to say about American competitiveness and lack of it. Professor Reich says it well enough, but after a lively start, the pictures of factories and classrooms begin to resemble industrial training films.
+A main point of tonight's two-hour segment, at 8 o'clock on Channels 13 and 49 and at 11 on Channel 21, is that America's economic problems lie not in Japan but right here at home, and Mr. Reich emphasizes that this is the only place they can be corrected. That accomplishment, in his opinion, requires that Americans adopt some Japanese habits: ""They work like hell and save like crazy.""
+Japanese businesses, he shows, have often taken ideas born in the United States and developed them into big-selling products. A current example on display here is a combination toilet and bidet, which is already popular in Japan. American managers, he charges, have concentrated on making profits on stock deals instead of on goods.
+The main need in the global economy, says Mr. Reich, is a skilled work force. He finds hope in an experimental school in North Carolina where youngsters with talent for science and mathematics receive special training. That's encouraging, but too much like a come-to-North Carolina promotion to get the juices running.
+The second hour is an extended plug for a new Chysler model -- the LH -- that company executives say was devised and built with the sort of teamwork for which Japanese car makers are famous. Mr. Reich sounds a little like the company's front man, Lee A. Iacocca: ""Each designer finds his own way to inspiration."" But Mr. Reich does note that automobile industry executives like Mr. Iacocca continued to make millions while their companies went into reverse.
+Tomorrow night, ""Made in America?"" describes the odyssey of a dress, from sheep in Australia to a Japanese mill to Bill Blass's design studio in New York City to a factory in China, and back to a Manhattan department store. And, finally, Mr. Reich examines commercial aircraft production. Everywhere he looks he finds lessons for America and signs of a comeback. That will take more in the way of innovation than these worthy programs provide. The German Way
+If after four hours of ""Made in America?"" you're thirsting for more news on how America is being outdistanced by foreign competitors, PBS provides it. ""Germany's Quality Obsession,"" at 10 P.M. tomorrow on Channels 13 and 49, finds Tom Peters delivering a typically hard-sell report on three successful middle-sized German companies -- an oven maker, a machine-tool maker and a toy maker -- and one American machine-tool company.
+What they all have in common, by Mr. Peters's account, is worker discipline, management flexibility and, above all, responsiveness to the consumer, elements that Mr. Reich finds in Japan, too. Let's hope the rest of corporate America is watching. Made in America?  Segments produced by Carl Charlson, Larry Engel, Peter Frumkin, Linda Garmon and Judy Katz for the WGBH Science Unit/Boston; Paula S. Apsell, director, WGBH Science Unit; William Grant, executive producer; Robert B. Reich, host. At 8 tonight on Channels 13 and 49, and at 11 on Channel 21. WITH: Jagdish Bhagwati, Charles Ferguson, Wallace L. Ford II, David Nelson, Leslie Nulty, James Sherblom and Laura Tyson."
+False,False,True,False,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,True,True,False,False,True,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,True,True,True,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Dear Camcorder Diary: Memoirs From All Over
+""Self-Portraits"" is evidence that the age of the video diary or video garage sale is upon us. In February 1991, the producers gave cameras to 100 people in 25 countries -- exactly how they were chosen is not clear -- with an invitation to create ""video letters"" about themselves. The result, edited down to an hour, is a grab bag of mini-autobiographies, imaginings and reflections that begins with a birth and ends with a funeral.
+Like most scrapbooks, the parts are better than the whole. At any rate, the best of them avoid the pretentiousness of the categories into which they have been lumped: ""Awakening,"" ""Coming of Age,"" ""Self-Expression,"" ""Suffering,"" ""Wisdom.""
+Although some of the passages in ""Coming of Age"" sound like classroom exercises in confessional journalism, they have an awkward authenticity that fades when the grown-ups take over. A boy in Morocco tells of giving up the nomadic life for an oasis; a Tibetan boy tells of his journey to India to study with a monk; a boy in Scotland tells of starting public school; a Massachusetts boy tells of his feelings about his parents' divorce.
+Fans of believe-it-or-nots may be attracted to the New Yorker tattooed from head to toe who does an act as ""the illustrated man""; the woman who says that as a young girl she was drugged, burned, subjected to tarantulas and snakes and otherwise annoyed by 17 members of her family, and the spirited one-armed, one-legged man on a 17,000-mile automobile trip through Africa.
+More familiar are the neo-Nazi youth in eastern Germany who rants about ""human scum"" and the Holocaust survivor on a visit to what was once his concentration camp; the man dying of AIDS, the woman dying of breast cancer and the homeless man on Christmas Day. For relief, there is a dash of self-conscious pornography.
+The most touching scenes are the straightforward ones, especially the 70-year-old Chinese woman telling what it is like to walk through life with bound feet. But there is plenty of self-indulgence here; artiness evidently knows no national boundaries. There ought to be a warning on camcorders that they can bring on delusions of auteurship.
+For fullest enjoyment of ""Self-Portraits,"" you have to love other people's home movies. Personally, I would not have minded if more of the contributors took a lesson from the 4-year-old Swedish boy who ended his brief day-in-the-life offering with, ""Now it's enough.""
+Self-Portraits  Showtime, tonight at 10 P.M. A special produced by Skip Lane and Robert Edward Altman for Those Guys International through Folk Video Networks; a presentation of Showtime Entertainment."
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+Creator of ""Designing Women"" and ""Evening Shade,"" not to mention prominent consultant to Bill Clinton, Linda Bloodworth-Thomason is sticking with CBS but shifting her formidable focus to Washington in ""Hearts Afire,"" which is to have a special one-hour premiere at 8 o'clock tonight. There's great potential here but, for the moment, Dan Quayle needn't fret. This is no ""Murphy Brown,"" at least not yet.
+What's served up in ""Hearts Afire,"" its roots in sitcom tugs of war going back to ""All in the Family,"" is the artful mating of a sort of conservative with a sort of liberal. On the right, there's John Hartman (John Ritter), political aide to a Southern Senator, Strobe Smithers (George Gaynes), the kind of rascal who nowadays intones that maybe it's ""time for a little trickle-down humanity."" Recently divorced and caring for two very precocious young sons, John tries to cope reasonably with being mugged on a street near his home and the rumor that his former wife is having an affair with another woman.
+Coming from the left, chain-smoking Georgie Anne Lahti (Markie Post), her father in prison for some funny business concerning the teamsters, has seen her reporting career go from writing about ""Sexism in the Israeli Military"" and ""My Year With Fidel"" to, most recently, a part-time job at Euro Disney. Georgie and her surrogate mother, Miss Lula (Beah Richards), are living in a run-down motel, credit cards having run their course. Think of Murphy Brown facing food stamps. What's next? Nothing less than being hired by a dubious but smitten John as press secretary for Senator Smithers, overseeing his photo ops in jogging togs.
+This may be Washington, but national issues are kept behind closed doors as the principals, feeling each other out, parry generalities. Looking to the past, John notes that everybody seemed so happy then. ""Maybe they were just acting,"" says Georgie. ""Maybe that's what we need now,"" John responds, ""better actors.""
+On the sidelines, of course, are a batch of supporting characters, each with a wicked repertory of wisecracks. Most prominent is Miss Starr (Beth Broderick), the Senator's quite shapely secretary, known to exasperated colleagues as L.B.L.I.C. (Last Bimbo Left in Congress). Miss Starr -- this being a Southern politician's office, just about everybody is addressed as Mister or Miz -- is given to pithy pronouncements: ""One man's condom is another man's party balloon.""
+After getting off to a surprisingly threadbare start, with the kids being tiresomely cute, ""Hearts Afire"" begins scoring frequently enough to keep itchy fingers off the remote. Mr. Ritter is still frisky and remarkably youthful, even if slightly more puffy. Ms. Post is tough and charming enough to make even her character's incessant smoking almost bearable. This week they end up in a huge bathtub. Next week they go on a date that includes the dangerously tanned George Hamilton (""I think he looks like Al Jolson,"" mutters John), who is looking even puffier than Mr. Ritter.
+Will ""Hearts Afire"" ever be able to rattle political cages? The opportunity is there. The new show, scheduled from tonight on between ""Evening Shade"" and ""Murphy Brown,"" is likely to be around for a while. Hearts Afire  CBS, 8 P.M. Directed by Harry Thomason from a script by Linda Bloodworth-Thomason; produced by Doug Jackson and Tommy Thompson for Mozark Productions in association with Adam Productions; Ms. Bloodworth-Thomason, Mr. Thomason and Bob Myman, executive producers. John Hartman . . . John Ritter Georgie Anne Lahti . . . Markie Post Miss Lula . . . Beah Richards Strobe Smithers . . . George Gaynes Billy Bob Davis . . . Billy Bob Thornton Dee Dee Starr . . . Beth Broderick Mavis Davis . . . Wendy Jo Sperber Adam . . . Adam Carl Elliot Hartman . . . Clark Duke Ben Hartman . . . Justin Burnette"
+False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,True,True,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,True,True,True,False,True,False,True,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,True,False,False,True,True,False,True,False,False,True,True,False,False,False,True,False,False,False,True,True,True,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,True,True,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; 'Frontline' Investigates the Real David Duke
+All those ""Frontline"" viewers who were about to rush out and vote for David Duke for President because they thought he was a do-gooder will be stunned by ""Who Is David Duke?"" tonight at 9 on Channel 13. Others will not be knocked off their couches by evidence that he is still a Ku Kluxer and a Nazi at heart.
+Through interviews with sometime colleagues and acquaintances, bolstered by years of quotes from the man himself (Mr. Duke declined to participate), the hour demonstrates that although he has shed his mustache and some of his language about white power, black pickaninnies and Jewish control of everything, his opinions remain much what they were before he decided to go mainstream.
+A passing effort to get at the roots of his attitude toward blacks only makes the program's correspondent, Hodding Carter 3d, sound a bit silly. He says the 13-year-old David Duke's observation of differences between white and black rats ""had a profound impression.""
+The hour traces Mr. Duke's ideological and political route from his ascendance to office in the Ku Klux Klan (""There is no more powerful symbol of the white race than the fiery cross! White victory!"") to creator and head of the National Association for the Advancement of White People (""the Jewish people have been a blight"") to electoral politics. In the course of his career, Mr. Duke has proposed that blacks be shipped to Africa and Jews be resettled on Long Island, which some may count an even crueler fate. But now, as a self-described born-again Christian, he apologizes for anything he may have said that seems intolerant. His lawyer expresses suspicion of the claim to conversion but can see its usefulness: ""Christianity by politicians is acceptable.""
+The unsettling thing about the onward and upward Duke story, as a journalist who has been following it observes, is the fact that ""55 percent of the white voters in Louisiana voted for David Duke, and they're not all nut cases and crackpots and racists and haters."" Tonight's program lays out the record; an analysis of its appeal to so many white voters deserves at least equal time. 'The Happy Days Reunion Special  ABC 9:30 P.M.
+Fans of the Fonz may want to tune in to ""The Happy Days Reunion Special."" The 90-minute program, complete with laugh tracks, combines segments of the hit sitcom about the Cunninghams of Milwaukee, which ran from 1974 to 1984, with reminiscences of cast members. Among the one-time favorites on the show are Ron Howard, Tom Bosley, Pat Morita and Henry (the Fonz) Winkler, who also acts as host. Sitting through the anthology requires more of a need for a nostalgia fix than this reviewer could dredge up. 'Grave Secrets The Legacy of Hilltop Drive'  CBS 9 P.M.
+So how would you feel if you moved into a new house only to find that the toilet flushed of its own accord, the television set turned itself on and lights turned themselves off, the garage door misbehaved, shadows climbed the walls, and the place was a museum of creepy noises, spooky music and sinister camera angles, not to mention the wind, storm and creaking branches outside? That's what Patty Duke and David Selby are up against in ""Grave Secrets: The Legacy of Hilltop Drive."" ""The toilet flushed again,"" somebody says. Well, better that than the television set turning on to this channel. Frontline Who Is David Duke?  A report written by Elena Mannes and Hodding Carter; edited by Ned Bastille; reported by Jason Berry; produced by Ms. Mannes for a consortium of WNET/New York, WGBH/ Boston, KCTS/Seattle, WPBT/Miami and WTVS/Detroit; David Fanning, executive producer. Mr. Carter, host. Tonight at 9 on Channel 13."
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+Beginning with its title, ""The Young Indiana Jones Chronicles"" seems curiously destined to being cumbersome. By far the most impressively mounted weekly show on television, at least in terms of rich production values, this ABC series keeps running up against its own unwieldy conception, devised by its executive producer, George Lucas. Latest evidence: tonight's ""Barcelona, 1917"" episode, at 8, directed by Terry Jones, once of ""Monty Python's Flying Circus.""
+Mr. Lucas, of course, working as executive producer and in other capacities, shares credit for the enormous box-office success of the ""Indiana Jones"" trilogy (the ""Star Wars"" saga is also his). Then he had a perfectly admirable idea. Why not a coming-of-age series about the formative years of the fictional Indiana Jones, a series set in the early decades of this century and incorporating real events and historical characters into its plots? Aimed at younger audiences, ""Young Indy,"" as it more felicitously might have been titled, would bring new life to the concept of educational television. Great excitement, justifiably so.
+From the outset, however, ""Young Indy"" has twisted itself into dramatic knots. For one thing, there is a rather superfluous Old Indy (George Hall), now 93 years old and kept around for no very good reason other than the fact that he is the weekly narrator, putting complex historical details into usually oversimplified contexts. Then there has been not one but two Young Indys: one pre-teen (Corey Carrier), the other about to become 17 (Sean Patrick Flanery). Audiences for one version of Indy won't necessarily be the same as for the other.
+A consistency of tone, crucial for any weekly series, has been further diminished by what, on paper, should be an artistic coup. With his own lofty reputation, Mr. Lucas has been able to attract performers and directors who don't make a habit of working in television. Next week, for instance, Max von Sydow will portray Sigmund Freud in an episode featuring the pre-teen Indy and directed by Bille August (""Pelle the Conqueror""). Other episodes this season are being directed by Nicholas Roeg (""Don't Look Now"") and Mike Newell (""Enchanted April"").
+The problem: Each program is so different in tone and style that ""Young Indy"" winds up looking like an anthology series that happens to have a floating character named Jones. A couple of weeks ago, Indy the teen-ager was off to Austria in a derring-do escapade that involved running across the top of a moving train. The director was Vic Armstrong, stunt master for ""Indiana Jones and the Temple of Doom."" Tonight, with Mr. Jones as director, the action suddenly turns into something resembling a Three Stooges comedy.
+Once again, the series, filmed on an array of international locations, looks terrific. A theater used for what is supposed to be a performance of the Ballets Russes (working undercover, the teen-age Indy gets the role of a eunuch in ""Scheherazade"") is positively dazzling. Mr. Jones moves through a series of slapstick sequences with aplomb.
+But even those viewers most supportive of the idea behind the series are likely to wind up confused about its methods. The educational aspects of the plan are not helped by historical portraits that rarely rise above stereotypes. Diaghilev and Picasso are depicted as tiresomely temperamental artistes. The German espionage gang is as buffoonish as any in a World War II propaganda movie.
+In terms of technology, ""The Young Indiana Jones Chronicles"" is making most of its prime-time competition look pathetically paltry. Now it's a matter of putting its week-to-week personality and content in order. Television and Mr. Lucas obviously have a lot to teach each other. The Young Indiana Jones Chronicles Barcelona, 1917  ABC, tonight at 8 (Channel 7 in New York) Directed by Terry Jones; written by Gavin Scott, based on a story by George Lucas; director of photography, David Tattersall; editor, Louise Rubacky; costumes by Charlotte Holdich; music by Laurence Rosenthal; production designer, Gavin Bocquet; produced for Lucasfilm in association with Amblin Television; Mr. Lucas, executive producer. Young Indiana Jones . . . Sean Patrick Flanery Indiana Jones (age 93) . . . George Hall Nadia . . . Amanda Ooms Cunningham-Massiter . . . Timothy Spall Colonel Schmidt . . . Kenneth Cranham Chauffeur . . . Harry Enfield Marcello . . . Terry Jones Diaghilev . . . William Hootkins Delfina . . . Liz Smith"
+False,False,False,False,True,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,True,True,True,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,True,False,False,True,False,False,False,True,False,True,True,False,False,True,True,True,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; The Hard Times and Happy Feet of 1939 Harlem
+The scene is Harlem and the year is 1939. The times aren't easy, especially for black people. Most of the women seem to be working in white folks' kitchens. Many of the men have no jobs at all. Temporary escape is usually found at the Savoy Ballroom -- ""home of the happy feet"" -- on Lenox Avenue. And that's where four young black women, long best friends and roommates, spend as much time as they can. Their intertwined stories are told in ""Stompin' at the Savoy,"" the CBS movie on Sunday at 9 P.M. Here's a rare television bird, a drama with music, and it flies beautifully.
+An exceptionally fine cast has an opportunity to strut splendidly, and sometimes literally, under the direction of Debbie Allen. Lynn Whitfield (""The Josephine Baker Story"") is Esther, ambitious and a bit too calculating because she knows ""there's money to be made and I'm going to get some of it"" if she can only open her own beauty shop. Vanessa Williams plays Pauline, aiming to be a singer but seemingly doomed to being a maid or hat-check girl. Jasmine Guy (""A Different World"") is the gentle, romantic Alice, something of an eternal victim. And Vanessa Bell Calloway is wary Dorothy, caught up in a difficult interracial relationship.
+As for the men in their lives, the leader of the pack is Walter, played by Mario Van Peebles (""New Jack City""). A modestly successful businessman, Walter looks like a smooth heartbreaker but, devoted to Esther, turns out to be unfailingly thoughtful and supportive. Darnell Williams (formerly of ""All My Children"") is boyish Ernest, struggling to do his best for Alice but never quite succeeding. Michael Warren (Bobby Hill on ""Hill Street Blues"") appears as Calvin, a shrewd club operator, and John Di Aquino is Bill, the white actor who's as naive as he is sincere.
+In the beginning, the mood is light. The women are struggling but not suffering. Promising affairs are getting started, and there is always a good time to be had at the Savoy, where Chick Webb, the drummer and orchestra leader, is featuring a new singer named Ella Fitzgerald (Dawnn Lewis). The music is hard-driving swing. The dancing, from Lindy Hop to jitterbug, is joyous. The film's production numbers are choreographed by Norma Miller and Frank Manning, themselves Savoy Ballroom dancers in the 1930's and then, in 1989, winners of a Tony Award for their choreography in ""Black and Blue.""
+Time passes. A World War begins, and life turns grimmer. In terms of a movie musical, ""Stompin' at the Savoy"" is much closer to 20th Century Fox domesticity -- remember Betty Grable and Dan Dailey -- than M-G-M glitz. Beverly M. Sawyer's script is stuffed with serious issues ranging from poverty and racism to ambition and betrayal. They are not hammered home, but the points are made. This drama with music is one of the more welcome surprises of the season. 'A&E Revue'  Arts & Entertainment Network Tonight at 10
+As it happens, this edition of the weekly arts magazine is devoted to the American musical theater. Robert Klein, the host, has separate interviews with Marvin Hamlisch (""A Chorus Line""), Harvey Schmidt (""The Fantasticks"") and Charles Strouse. Singing some of their songs are Jerry Orbach, Andrea McArdle and Mr. Klein himself. (He starred in Mr. Hamlisch's ""They're Playing Our Song."") Harry Groener, from the current hit ""Crazy for You,"" closes the warm salute with ""They Can't Take That Away From Me."" Let's hope so. 'Superstar The Life and Times of Andy Warhol'  Channel 13 Tonight at 10
+Visionary or charlatan? This 1990 Chuck Workman film provides ammunition for those taking either view of the odd man from Pittsburgh. Warhol's life is covered less effectively than his times, which are evoked vividly in all their glorious excess, from the Factory and Studio 54 to those Campbell Soup cans and a six-hour film of a man sleeping. Drugs, lunacy, wild fun, shrewd exploitation and destruction. It's a fascinating tale. 'Bob Newhart Off the Record'  Showtime Sunday at 9 P.M.
+No comedian has ever made brilliant timing look so incredibly easy. Currently between network sitcoms, the almost ridiculously nondescript Mr. Newhart goes to a theater in Pasadena, Calif., to revive several routines from his early comedy recordings. There's the bus instructor telling new drivers how best to foil elderly ladies running with packages. Then there's the image consultant giving Abe Lincoln some tips on packaging himself. No foul language, no smut, no screaming. Just real laughs. This is, as they say, a dying breed. Stompin' at the Savoy  Written by Beverly M. Sawyer; Debbie Allen, director; Norm Baron, production designer; Hal Wheeler, musical score; Norma Miller, choreographer; Frank Manning and Ms. Allen, assistant choreographers; John Saviano, production supervisor; Jim Ferrell, set decorator; Michael O. Gallant, supervising producer; Richard Maynard, executive producer. A Richard Maynard Production in association with Gallant Entertainment. Sunday at 9 P.M. on CBS. Esther Tolbert . . . Lynn Whitfield Pauline Richardson . . . Vanessa Williams Alice Nichols . . . Jasmine Guy Dorothy Fanroy . . . Vanessa Bell Calloway Walter . . . Mario Van Peebles Calvin Hunter . . . Michael Warren Ernest Johnson . . . Darnell Williams Bill Jerome . . . John Di Aquino Estelle . . . Debbie Allen"
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+'Fantasia' Available
+For those who still want to buy ""Fantasia,"" the advice from retailers is don't run but walk, though at a purposeful pace, to the video store. Close to 13 million tapes of the Disney classic are in circulation and, in the opinion of some in the industry, the film could surpass ""E.T. the Extraterrestrial"" as the best-selling movie ever. But though there is bounty now, it doesn't mean the supplies in stores will last forever.
+""What we have should carry us through January,"" said Ron Castell, a vice president of Blockbuster, the country's largest video chain.
+By then many stores will have run out of ""Fantasia"" and will be unable to order more copies. Disney released the movie on Nov. 1 for a limited period, after which, the studio announced in the summer, it is to be cut apart with some sections saved for a new ""Fantasia"" planned for release in the late 1990's. The end for this ""Fantasia"" will come on Jan. 13.
+""That's the last day for distributors to order,"" said Steve Feldstein of Disney. ""Then it's gone.""
+The film has given the studio some trying if profitable moments since November. In the first week, demand was so heavy -- a frenzy, some dealers called it -- that Disney had to suspend orders. ""We were completely out of inventory,"" Mr. Feldstein said. Since then, distributors have been allowed to reorder twice, but Disney has limited sales to a percentage of what a customer first ordered. ""We're trying to gauge the product flow,"" Mr. Feldstein said.
+In other words, Disney doesn't want to overproduce and have cassettes returned. ""Anybody who wants 'Fantasia' probably already has it,"" Mr. Castell said. TV Pilot
+Next year doesn't look promising for big-movie releases on tape, but there are titles to talk about. One, in fact, is not a movie but a television program. On Jan. 21, Worldvision will release the 90-minute pilot episode of ""Beverly Hills 90210,"" the Fox show set in a California high school that has a wide following among teen-age viewers. The title is a second hot television property on video for Worldvision, which recently released ""The Addams Family"" series from the 1960's, just in time for ""The Addams Family"" the movie, one of the season's hits at the box office.
+Worldvision predicted that ""Beverly Hills 90210"" would rent as if it were a movie because the show caught on gradually and not many among those in its present audience saw the pilot, which was broadcast in 1990. For that reason, ""Beverly Hills 90210"" is being priced like a movie, at $89.95. New Video Releases
+Delirious
+1991. MGM/UA
+. $94.99. Laser disk, $24.98. 1 hour 36 minutes. Closed captioned. PG.
+After suffering a whack on the head, a television writer, Jack Gable (John Candy), wakes up in the soap opera he has created. There's the pretty little soap town of Ashford Falls and the estate called Scimitar. There too are all the soap denizens he can now manipulate to help him get out of dreamland. Best of all is the unrestricted license to benefit himself with the kind of soapy devices he usually uses, like killing off characters and having pretty women fall in love with him. Though slow in places, Tom Mankiewicz's film ""does come up with some enjoyable new swipes at the same old targets"" (Janet Maslin).  Life and Nothing But  1989. Orion. $79.98. 2:15. French with English subtitles. PG.
+After World War I near the French town of Verdun, soldiers and citizens from around the country sift through the rubble of battle, cataloguing the dead and looking for belongings or any other signs of lost loved ones. It is a businesslike enterprise carried out with matter-of-fact dedication by the military unit, led by Dellaplane (Philippe Noiret), and civilians who bear their loss and grief with stoic patience and occasional gallows humor. But none of the characters are allowed to draw too near in Bertrand Tavernier's film, which is content to watch them from afar as part of a larger whole in a way that is ""muted, as dark, restrained and slow moving as it is somberly beautiful"" (Maslin).  Open Doors  1989. Orion. $79.98. 1:48. Italian with English subtitles. R.
+In Palermo, Sicily, in 1937, a distinguished judge (Gian Maria Volonte) absorbs himself with the intricacies of a particularly spectacular murder case. An office worker, dismissed from his job, has stabbed two fellow employees to death and then raped and murdered his wife. Details of the crimes are gradually revealed in the courtroom, but interest soon shifts from the case to the solemn elegance of the deliberations, the nobility of the judge and the deceptive orderliness that masks a chilling need for vengeance in Sicilian society. ""The whole film, which has been directed with meticulous grace by Gianni Amelio, has an eerie, watchful tone"" (Maslin).  The Glass Bottom Boat  1966. MGM/UA. $19.98. 1:51. No rating.
+Doris Day, cute as a button, is mistaken for a Soviet spy when she makes too many phone calls to a character named Vladimir (her dog, actually). Rod Taylor is a scientist in Frank Tashlin's frantic 1960's farce and the newcomer Dom DeLuise plays a real spy. Arthur Godfrey is the captain of the see-through vessel, while Miss Day ""continues to project her familiar personality: that of the Little Orphan Annie of slick cinema fiction"" (Vincent Canby). Bankrupt but Best-Renting
+This week Orion Home Video, a division of the studio that filed for bankruptcy protection on Dec. 11, has three titles on Billboard's best-renter list (""The Silence of the Lambs,"" ""FX2: The Deadly Art of Illusion"" and ""Dances With Wolves""). Orion, whose titles remain in stores, has many other films on tape. Here are some of them.
+MURMUR OF THE HEART. In Louis Malle's film, a French adolescent (Benoit Ferreux) is charmingly attracted to his glamorous mother. 1971. $79.95. 1:58. French with English subtitles. No rating.  AU REVOIR LES ENFANTS. Two schoolboys, one a Jew, deal with the Nazis in occupied France. Louis Malle directed. 1987. $19.98. 1:43. French with English subtitles. No rating.  BULL DURHAM. Susan Sarandon, a baseball groupie, takes a couple of minor leaguers (Kevin Costner and Tim Robbins) under her wing. 1988. $19.98. 1:55. R.  MISSISSIPPI BURNING. Gene Hackman and Willem Dafoe are F.B.I. agents investigating the disappearance of three civil rights workers. Alan Parker's film was nominated for seven Oscars. 1988. $19.98. 2:00. R.  BABETTE'S FEAST. A housekeeper (Stephane Audran) uses her culinary skills to teach the two sisters she works for how to live. 1987. $19.98. Danish with English subtitles. No rating.  WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN. An actress (Carmen Maura) gets tangled up with her philandering lover's wife and his new girlfriend, in Pedro Almodovar's comedy. 1988. $79.95. 1:28. Spanish with English subtitles. R."
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+Right-wing critics of public broadcasting should be cheered tonight by an essay, in prime time, that is upbeat about America from a man who has been known to consort with neo-conservatives.
+""The First Universal Nation,"" at 9 P.M. on Channel 13, is an installment of ""Ben J. Wattenberg: Trends in the 90's."" It is Mr. Wattenberg's description of the American melting pot, which he finds to be poppling vigorously and productively. In this energetic hour, the author and television commentator looks at immigration, intermarriage and the worldwide taste for American pop culture.
+Mr. Wattenberg, who specializes in mining the meanings of statistical data as a senior fellow at the American Enterprise Institute, a conservative think tank, notes that the immigration rate is back up to a million a year, about the same as at the turn of the century. But the mix has changed: about 85 percent of today's newest Americans are not of European ancestry. At the Gaithersburg Intermediate School in Maryland, he finds students from 41 countries, apparently getting along just fine.
+Although Mr. Wattenberg concedes that intergroup animosities have not vanished (a black New Yorker is seen shouting at a Korean New Yorker, ""This is my country, not yours""), he accentuates the positive. While attending a wedding in Baltimore between a Greek Orthodox woman and a Presbyterian man whose mother belongs to the Daughters of the American Revolution, he notes that ethnic and religious barriers to marriage have all but collapsed in the last 20 years. He finds encouragement in the fact that black-white intermarriage, too, is climbing, although it is still relatively rare.
+His conclusion: At a time when ethnic and racial divisions are being emphasized by press and television, ""the melting pot is alive, flourishing, expanding.""
+One must hope so; the message is much more heartening than the general run of election-year coverage. But viewers may detect a certain wishfulness in this hour, which was financed in part by the John M. Olin Foundation and the Donner Foundation, prominent supporters of conservative causes. Mr. Wattenberg, sleeves rolled up, glasses on forehead, makes an energetic salesman for America, with a salesman's tendency to play down the less shiny aspects of his product.
+Relying on history and faith, he promises that the current symptoms of group dissension will be ameliorated as the American dream takes hold among the new immigrants. Matters like the nation's economic prospects, the appearance in the inner cities of youths who are notoriously resistant to assimilation and the implications of the multi-culturalism are given scant attention.
+Mr. Wattenberg's optimistic revisionism is most striking in the hour's final segment, on the Americanization of world culture. Along with Hollywood movies, soap operas and Euro Disney, America is sending forth values like individualism and upward mobility, he emphasizes. He does not pause to scrutinize the content of what is being exported.
+The message being delivered to the world, he says, is this: ""In America everything is possible."" That is pretty much Mr. Wattenberg's message, too. 'States of Mind'  Channel 13 Friday at midnight
+This seven-part PBS series on how people are getting along these days around the United States has a somewhat less optimistic spin. Workers in Idaho are trying to figure out how to keep their jobs in the logging industry without disfiguring the land, and leaders of a poor black community in Arkansas are trying to improve life for their children. A largely Hispanic community in Denver is trying to revitalize a neighborhood battered by industry, and old-time religion is holding together the residents of a rural West Virginia town. And people in tiny Shoshone, Idaho, have been hit by crime and poverty, just like people in Milwaukee and Philadelphia, the scene of tonight's intermittently interesting opening episode, direly titled ""Crisis in Philadelphia."" 'Pillar of Fire'  TNT Sunday at 10 P.M.
+This two-hour documentary is a distillation of a 19-hour Israeli version of the birth of Israel, from the Dreyfus court-martial to the establishment of the state in 1948. It is embellished with evocative old photographs and newsreel clips and the narration of Jason Robards. The First Universal Nation  Channel 13 Tonight at 9
+Written by Ben J. Wattenberg; Tevi Troy, associate producer; Marilyn Weiner and Hal Weiner, producers. A co-production of Screenscope and South Carolina ETV."
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+Frontline The Choice '92  PBS, tonight at 9  (Channel 13 in New York)
+Produced by Thomas Lennon; Michael Sullivan, senior producer; David Fanning, executive producer; Richard Ben Cramer, correspondent.
+""The Choice '92"" is less about issues than about careers. Richard Ben Cramer, author of ""What It Takes,"" a book about the 1988 Presidential candidates, interweaves the stories of President George Bush and Gov. Bill Clinton from their childhoods to just yesterday to show how ""they clawed to the top of our political heap."" The contrasts are striking, but so are the similarities. (Ross Perot does not figure in this two-hour ""Frontline"" special, which was almost complete before he re-entered the race a few weeks ago.)
+Viewers who have not had enough this season of how the two main candidates made their ways into politics can obtain a brisk recapitulation tonight, with the help of family members, friends and pictures of them on the rise. Mr. Cramer portrays Mr. Bush as a loyal party man who despite his own inclinations came out strongly against the Civil Rights Act of 1964, when he was running for the Senate in Texas. Later, a friend recalls, he expressed regret at taking ""some of the far-right positions that I thought I needed to get elected."" He said, ""I hope I'll never do it again."" John Sears, an aid to President Richard Nixon -- who helped the Bush career -- says, ""I don't think George Bush's positions are central to who he is.""
+Issues seem to have been more urgent for Mr. Clinton, who came of age in the 1960's. Mr. Cramer reports that as a college student, shown here in a sparse beard, Mr. Clinton was deeply opposed to the Vietnam War and stayed out of it by ""working the system, sometimes baldly, every angle.""
+The program's account of the two men's twists and turns as they made their way upward are revealing not only about them but about what Americans demand of their leaders. Both suffered losses that apparently taught them the importance of adapting to political exigencies. Adaptation seems to have come more easily to Mr. Bush, but Mr. Clinton, too, proved an adaptable politician as he moved closer to his state's business interests. An Arkansas critic says, ""Bill Clinton will never over-commit, not ever.""
+Mr. Cramer's conclusion that both have been reinventing themselves as they go along speaks to the nature of American politics, where the price of success often includes moderating one's convictions and distorting one's personality. That may be lamentable, but it takes a remarkable figure to resist the pressures of democracy. ""The Choice '92"" leaves the impression that neither of this year's main contenders is that remarkable. World in Focus
+Channel 31, tomorrow at 10 P.M.
+WNYC-TV begins a new 13-week series of half-hour discussions of foreign affairs tomorrow night with Lawrence Eagleburger, the Acting Secretary of State, answering questions about ""U.S. Foreign Policy in the Post-Cold War Era."" The sharpest exchanges between Mr. Eagleburger and his inquisitors -- Margaret Osmer, the moderator; James Hoge, editor of Foreign Affairs magazine, and Leslie Gelb, a New York Times columnist -- are over America's action or inaction regarding Bosnia.
+The series, which is produced by the Council on Foreign Relations, promises more big names in international diplomacy, including, next week, the Egyptian Foreign Minister, Amre Moussa, and later, Shimon Peres, the Israeli Foreign Minister. Let's hope they are treated no more gently than Mr. Eagleburger."
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+Steadily gaining a sitcom audience for Home Box Office, ""Dream On"" may well be television's flakiest series, as becomes evident with further samplings. Martin Tupper, whose psyche was molded by television when he was growing up in the 1950's and 60's, is offered as a contemporary Everyman: divorced, trying to maintain a connection with a son in his early teens, struggling to salvage a smidgen of dignity as an editor of questionable romance novels, all the while being bombarded with flashes of black-and-white scenes from the television shows and old movies of his childhood.
+Martin's best friend is his ex-wife, Judith, who has married a candidate for a Nobel and countless other prizes. Coping with a sneering secretary and a string of beautiful but out-of-kilter girlfriends, Martin does a lot of nervous smiling. Brian Benben has an amiable stranglehold on the role.
+This Sunday at 10 P.M., in an episode titled ""Futile Attraction,"" Martin confesses to Judith (Wendie Malick), who is a psychiatrist, that he has developed a sexual-potency problem. She suggests that he see an analyst named Dr. Klein (Martin Mull), who turns out to be a compulsive smoker and is not amused when Martin says he objects to smoking during their sessions. Martin pours out his heart. Dr. Klein, surrounded by bowls of hard candy, begins puffing frantically on his pen.
+Leaving the doctor's office, Martin meets Elaine (Gina Hecht), and after using the Heimlich maneuver to save her from choking on a sourball in an elevator, falls in love. As it turns out, Elaine is going through analysis with Judith, who knows that she is a borderline schizophrenic with a history of violently attacking her sex partners. Should Judith tell the truth to the smitten Martin? Would he simply dismiss it as a jealous ploy? The ball is in motion and the game is played out to its wacky conclusion, which includes a glimpse of Ronald Reagan intoning in a rotten movie that ""each day is too good to waste being afraid.""
+With John Landis and Kevin Bright as executive producers, ""Dream On"" enjoys venturing into offbeat, often sensitive territory. This week's episode, ""Calling the Kettle Black,"" showed Martin finding a joint of marijuana in his son's bedroom. Dad was distressed, of course, giving the boy a stern lecture, but then Martin ended up smoking the marijuana with an old friend as the two shared an uncontrollable giggle over the good old days. The son had the final lecture: ""I'm not going to yell at you. I just want you to know I'm really, really disappointed.""
+The show has its weak spots, most notably in a pointless tendency to be smarmy. ""Futile Attraction"" is dotted with scenes of Martin in bed with topless women. (This may be the first series to proclaim publicly almost every week that it has a breast fetish.) And a good many of the old television clips are used for double-entendres that are sometimes less witty than painfully obvious. But ""Dream On"" takes unusual chances and has a habit of turning out to be refreshingly original. 'Carmen'  Channel 13 Tonight at 9
+No, not the Bizet chestnut, but this 1983 film from Spain, directed by Carlos Saura (""Blood Wedding""), updates the same source: the Prosper Merimee novella first published in 1847. The dancer Antonio Gades plays Antonio, a choreographer seeking a Carmen for a new ballet based on the famous opera. The music of Bizet is blended skillfully with traditional flamenco music, giving Mr. Gades and his co-stars ample opportunity to pound the scenery. There are English subtitles. Pan American Games ABC Tomorrow at 1 P.M.
+Telecast live from Havana, this is the quadrennial event's 11th gathering. Expected through Aug. 18 are more than 6,000 athletes from 39 nations of the Western Hemisphere. Only the Olympics, traditionally held a year later, are bigger in scope. ABC will cover the daytime competition on weekends; TNT will offer evening coverage Mondays through Fridays, in addition to Sunday broadcasts after ABC. Tomorrow: men's basketball and men's and women's marathons. 'Paul Rodriguez:' 'Behind Bars' Channel 5 Sunday at 10 P.M.
+The bars belong to the cells in San Quentin prison in California. Mr. Rodriguez performs his stand-up comedy act and then interviews some of the prisoners, who talk about how they wound up there and offer some advice on how to stay out, stressing education. Also on the entertainment bill are Ice-T, the rapper, and James Stephens 3d, another comedian. Dream On Produced for HBO by Kevin Bright Productions in association with MCA Television Entertainment; story editors, Jeff Greenstein and Jeff Strauss; producers, Robb Idels and Ron Wolotzky; supervising producer, Bill Sanders; executive producers, John Landis and Mr. Bright; co-executive producers, David Crane and Marta Kauffman. Sundays at 10 P.M on HBO. Martin Tupper . . . Brian Benben Judith Tupper . . . Wendie Malick Jeremy . . . Chris Demetral Toby . . . Denny Dillon"
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+NBC's ""In the Best Interest of the Children,"" on Sunday at 9 P.M., is the kind of compelling television movie that leaves you wondering what it was really trying to say. Tackling the highly sensitive and complicated issue of child custody, the film is powerfully acted, but its script, by Peter Nelson and Judd Kinberg, seems less interested in being coherent than in not offending anybody, specifically birth parents or their close relatives or foster parents.
+Once again, viewers are assured that what they are about to see is based on a true story, in this instance a legal battle in Iowa during the late 1980's. But then there is an opening credit saying that the film is based on a story by Mr. Nelson. Is Mr. Nelson's ""story"" true? How far removed from the original story is the script? Muddying matters further, all names have been fictionalized. Welcome to prime-time docu-drama.
+The film opens with a harrowing portrait of family life on the poverty battlefront. Pregnant Callie Cain (Sarah Jessica Parker) is returning to her hometown of Estherville, Iowa, with her four young daughters and latest boyfriend (""At least he stuck around,"" she says in defense of his sulking, abusive ways. ""That's more than I can say for the other fathers."") Callie is a hopeless mother. The shabby home is overrun with garbage and cockroaches. The oldest daughter, Jessie (Lexi Randall), tries to hold things together, feeding the baby water and potato chips when food stamps run out. At school classmates complain that the Cain children smell bad.
+The new baby, a son, is born. Boyfriend leaves. Gradually, it is apparent that Callie is mentally unstable, clinically a manic depressive. Her brother and sister-in-law try to help, but she spurns them, accusing them of wanting to take her children. But confronted with still another mental breakdown, Callie agrees to let the children be placed in a foster home, as long as it's not her brother's. The five youngsters are sent to a farm operated by Patty and Harlan Pepper (Sally Struthers and John Dennis Johnston), a childless couple ready to heap love and attention on their new family.
+The Cain children are so happy with Patty and Harlan that they ask if they can call them Mom and Dad. A happy ending, it seems. But then the children find themselves pawns in battles involving several interested parties. Thinking herself ready to resume being a mother, Callie wants her children back. When they object, she accuses the Peppers of intentionally trying to alienate them. Joining the fray are a social worker (Susan Barnes) trying to abide by inadequate state rules and a lawyer (Elizabeth Ashley) who, appointed legal guardian of the children, seems bent on drumming up publicity for herself. The case attracts considerable press attention, especially when a story circulates that the two oldest daughters may have been planning to kill themselves.
+Nasty allegations whiz by on all fronts, smearing even the Peppers, who for the most part are portrayed quite sympathetically in the film. For the viewer, it becomes impossible to separate what might be true from what is patently false. Everybody's to blame, it seems, therefore nobody's to blame. Perhaps that's the point, that with all of the confusion, the best interests of the children got lost. But this summary, especially in light of the case's resolution, is more frustrating than enlightening. Only the performances, paced most impressively by those of Ms. Parker (""Equal Justice"") and the young Ms. Randall, merit unqualified attention.  In the Best Interest of the Children  Directed by Michael Rhodes; written by Peter Nelson and Jud Kinberg; produced by Paul Freeman for NBC Productions; Mr. Rhodes, executive producer. Sunday at 9 P.M. Callie Cain . . . Sarah Jessica Parker Jessica Cain . . . Lexi Randall Julie Cain . . . Jessica M. Campbell Susie Cain . . . Lacey Guyon Cindy Cain . . . Amanda Laughlin John Birney . . . Gary Graham Wanda Birney . . . Jayne Atkinson Patty Pepper . . . Sally Struthers Harlen Pepper . . . John Dennis Johnston Donna Evans . . . Susan Barnes Carla Scott . . . Elizabeth Ashley Ray Jacobs . . . Tom Hodges"
+False,False,False,False,True,True,False,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,True,True,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,True,False,False,True,True,False,True,False,False,False,True,False,False,False,True,True,False,True,False,False,False,False,True,True,True,False,True,False,False,False,False,False,True,False,True,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,True,True,False,True,False,False,False,True,False,False,True,False,False,True,True,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; A Friendly Mayberry Get-Together
+Now that ABC is faring comfortably with ""Matlock,"" a series canceled by NBC, what can CBS possibly do to compete in the Andy Griffith sweepstakes? Well, how about going back to Mayberry, N.C., and pushing the nostalgia button for an hourlong special called ""The Andy Griffith Show Reunion""? As it happens, it's on CBS at 8 tonight.
+The character of Sheriff Andy Taylor was introduced on Danny Thomas's ""Make Room for Daddy"" series. The date was Feb. 15, 1960. Mr. Griffith's portrayal of the sweet-natured, drawl-dripping sheriff proved so ingratiating that CBS got ""The Andy Griffith Show"" ready for its premiere that October. It ran for eight years, and there are those who swear it has been available in reruns, on one channel or another, ever since.
+Mayberry had nothing to do with reality; evidently that was its primary charm for millions of viewers. While the 1960's were exploding with civil rights marches, war protests, student rebellions and political assassinations, Mayberry was a haven, as the show's creator, Sheldon Leonard, puts it, of tolerance, patience and common sense. Jim Nabors, who played Gomer Pyle, remembers Mayberry as ""completely bypassed by the realities and difficulties of the outside world."" No matter how goofy the situations got, gentleness reigned.
+Serving as host this evening, an affable, rather courtly Mr. Griffith ambles through a series of reminiscences with cast members. ""May I introduce the finest comedy actor I have ever known,"" he says, bringing on Don Knotts. The two then chuckle over Mr. Knotts's portrayal of Deputy Sheriff Barney Fife, who constantly seemed to be struggling with terminal hypertension, especially when he tried to draw his gun, which was usually unloaded. Also appearing, with home movies shot on the set by his father, is Ron Howard, who was 6 years old when he began playing the widowed Andy's son, Opie.
+Curiously, Mayberry was almost entirely a male preserve. If not exactly invisible, women were scarce. The very first show introduced Andy's Aunt Bee (Frances Bavier), who would serve as middle-aged housekeeper and foster mother to Opie. Andy's girlfriend in the first season, a druggist named Ellie Walker (Elinor Donahue), got the boot, and there was no romantic interest for at least the next three years. Men were left to go their own way, which usually meant, as one episode observed, they could ""go home, have a nap, then over to Thelma Lou's for TV.""
+The homespun humor clearly works, even today. Among the fans offering tribute in this special are the country singers Randy Travis and Reba McIntire, the baseball pitcher Nolan Ryan, the saxophonist Kenny G and what looks like the entire Los Angeles Raiders football team. Hearing the show's theme song, the journalist Charles Kuralt says, ""That tune and those people: it's a rural Eden."" As far as a lot of good people are concerned, Mayberry lives. The Andy Griffith Show Reunion CBS, tonight at 8. Written by Andrew Solt and Peter Elbling; directed by Mr. Solt; produced by Stuart Schreiberg for Andrew Solt Productions; Mr. Solt and Andy Griffith, executive producers. With: Don Knotts, Ron Howard, Jim Nabors, George Lindsey, Jack Dodson and guests."
+False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,True,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Imported from Britain: A Certain Type of Humor
+The dread days of PBS money-raising (known delicately as a pledge period) are upon us, that periodic assault of ostensible crowd-pleasers punctuated by public-station employees telling us over and over how important they are to our happiness.
+Last weekend Channel 13 brought forth Kathleen Battle, Jessye Norman, Bob Dylan and elephants. Coming up are shows by or about Itzhak Perlman; Paul Simon; Elton John; Peter, Paul and Mary; Liza Minnelli, and dolphins. Tonight at 8 you can attend ""A Birthday Tribute to Julia Child.""
+Over on Long Island, Channel 21, which specializes in imported sitcoms (a steady reminder that not all British television is ""Masterpiece Theater"") is dishing up three prime-time hours of ""Are You Being Served?"" The host is John Inman, who plays Mr. Humphries, who is in men's haberdashery.
+Whether you are being served depends on your tolerance for bargain-basement antics in Grace Brothers department store. Dealing in broad characters (including such politically incorrect types as the flaming homosexual and the over-the-hill man chaser), broad jokes (mostly about sex and anatomy), drippy double-entendres (mostly about anatomy and sex) and plots straight from the clearance bin, the shows at their best have a kind of raffish music-hall fun.
+Tonight's new episode, which finds the regulars in a country hotel called Millstone Manor, is not of the best.  The department-store setting is sorely missed. However, it is amply available in the repeats that occupy most of the evening.
+Maybe the merchandising here is shrewd. Amid three hours of lines like ""There are a lot of big nobs in this country"" and ""I was out in the wind flicking my Zippo,"" the straight begging may come as a relief. The Best of 'Are You Being Served?' WLIW/Channel 21, tonight at 8  Written by Jeremy Lloyd and David Croft; produced by Mr. Croft for BBC Lionheart in association with KAET/Phoenix; written and produced by Don Harris for KAET; executive producer for KAET, John Wilson."
+False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,True,True,False,False,False,False,False,True,True,False,True,True,True,False,False,False,False,False,True,False,True,False,False,True,False,False,True,False,False,False,True,True,False,False,True,False,True,False,True,False,True,True,False,True,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,True,False,False,True,True,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; Exploring Madness's Face And the Computer's Birth
+It's an ambitious night for PBS, the start of two five-part series on the mysteries of mental activity: ""Madness by Jonathan Miller,"" at 10, and ""The Machine That Changed the World,"" at 9, on Channel 13.
+""Madness"" is the exploration by Mr. Miller, who is a doctor as well as a director, of a concept that has been much disputed over the centuries and remains unsettled even in this know-it-all era. Is there such an illness as madness, or does society merely impose its own diagnosis on behavior that a majority deems peculiar? If madness is an illness, then is it physical or psychological, or a bit of both? And how can it best be treated?
+The series begins with the scene from ""Hamlet"" between the prince and Polonius, who has lately reported to the king, ""Your noble son is mad."" Like most people, Polonius cannot define madness, but he is sure he knows it when he sees it. The literal-minded old fellow interprets every ironic utterance of Hamlet as a sign of lunacy. Is madness in the mind of the beholder?
+Mr. Miller brings his several talents to bear as he chats knowledgeably with researchers, psychiatrists and patients, presents dramatic vignettes and lectures in a somewhat spooky setting, apparently the interior of an ancient castle that has gone to pot. The stone walls are adorned only with drop cloths; the main piece of furniture is a long table cluttered with books, which might signal scholarship or just a rummage sale; a television set hangs anomalously from the ceiling and when Mr. Miller is not prowling about, he watches himself on screen. Maybe it is all meant to be a Gothic metaphor for madness.
+As evidenced in his earlier PBS series, ""The Body in Question,"" Mr. Miller is an easy, eloquent and enlightening lecturer. Showing pictures of several youths with punk haircuts, he makes the point that one has to see odd behavior in context. Yet he notes that the symptoms of what is called madness have remained much the same down the centuries: hearing voices and seeing things. His conversations with patients at mental institutions in England and the United States confirm that voices are still being heard, things still being seen.
+He discusses the conflict during the Middle Ages between the religious belief that some people were possessed by supernatural spirits and the secular belief that they were afflicted by humors. Either way, the attempted cures were harsh and probably not very effective. He makes pointed connections between changes in society and changes in views of madness.
+At moments Mr. Miller's directorial improvisations distract from his lecture. If you were wondering why he goes up in a helicopter to shoot the English countryside, it is merely to carry forward his image that the landscape of thought was transformed by the scientific method. He could have spared himself that trip. The significant point is that by the middle of the 18th century doctors had monopolized the treatment of lunacy, without quite knowing what to do about it.
+Next week's installment, ""Out of Sight,"" deals with the rise of asylums as an expression of greater compassion for those presumed mad -- and their decline for similar motives. Then come accounts of the use of electro-shock treatments, lobotomies and Freudian therapy and finally a program on schizophrenia. Dr. Miller concludes by offering his answers to the fundamental questions raised at the outset. Like most of what he says, they are respectful of the mental condition of his audience. 'The Machine That Changed the World'
+These words are being written on a computer. And when the review is completed, it will travel over telephone lines to the computer system of The New York Times -- an unremarkable accomplishment in an age of communication wonders, yet it leaves this operator in awe every time. With the pressing of a key or two, I can command a miracle that I find harder to comprehend than madness.
+""Giant Brains"" adds to comprehension without diminishing the awe. This first program in the series ""The Machine That Changed the World"" goes back to the 18th century for the origins of what it calls the ""universal machine.""
+In that era a computer was a human being, simply a person who did arithmetic. The process was laborious and faulty: the program notes the efforts of an English schoolmaster, William Shanks, to carry through the decimal expansion of pi, the famous number that never ends. He spent 28 years at the job. Unfortunately, but not surprisingly, he made a mistake at the 528th decimal place so everything that followed went for nought.
+A century later Victorians turned their attention to devising machines that could carry out the speedy and accurate calculation required by industrialization. Credit is given here to the mathematician Charles Babbage for hitting on the concept of the computer, which he called, in good Victorian English, the analytical engine. But Babbage's dream failed to catch the imagination of his time, and the beginning of the computer age would have to wait until the 1930's.
+Tonight's intelligently conceived and composed program carries the story along with the help of discreet dramatization, straightforward narration and the accounts of historians and a few of the people who contributed to the 20th-century advances:
+*Konrad Zuse who, as a young German engineering student, figured out how to use the on-off electric switch to create a general-purpose calculator. ""You could say that I was too lazy to calculate and so I invented the computer,"" says the no-longer-young Mr. Zuse.
+*John Mauchly and J. Presper Eckert, the American team that put thousands of vacuum tubes to the service of Eniac, their electronic numerical integrater and computer that could perform 5,000 additions every second.
+*Maurice Wilkes, the Cambridge University computer scientist who developed Edsac, which could do the work of 10,000 people with old-fashioned calculators and opened up new vistas.
+*Alan Turing, the English mathematician and code breaker, who pursued the principle that computers could do any logical task a human could do. In a scene from the play ""Breaking the Code,"" Derek Jacobi, who portrayed Turing, is seen telling students that the computer has the ability to learn, and credits it with an intelligence of its own.
+This rich series, a co-production of the BBC and the WGBH science unit, continues next week with an account of how Univac, the first commercial computer, enabled CBS News to predict the Eisenhower landslide of 1952. Future episodes go into the rise of Apple Computer Inc. and the home computer and the nature of artificial intelligence, concluding next month with a cautionary report on computer networks that contain all manner of information about practically everybody.
+Presumably someone, maybe Jonathan Miller, is even now at work on a series about the computer virus, or how madness finds its way into method. Madness by Jonathan Miller
+The first of a five-part series; a Brook Production for the BBC and KCET in Los Angeles; David Herman, series development executive; Grace Kitto, associate producer; Richard Dention, director and producer; Udi Eichler, executive producer; Joyce Campbell, executive producer for KCET. Monday nights at 10 on Channel 13. The Machine That Changed the World
+The first of a five-part series; a co-production of the WGBH Science Unit and the BBC in association with NDR/Germany; Fiona Holmes, producer of ""Giant Brains"" episode; Nancy Linde, producer for the series; Jon Palfreman, executive producer. Monday nights at 9 on Channel 13."
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+Although ""Buy Me That 3! A Kid's Guide to Food Advertising"" delivers a bah-humbug message, the half-hour of anticommercials about junk food is anything but Scroogelike. As the awkward title indicates, this is the third special from Consumer Reports and HBO that attempts, wishfully, to protect youngsters from the flood of television advertising that crests during December and drowns any inhibitions that still exist about laying out good money for dubious products. As one of the likable children who pop up now and then to describe the effects of the commercials confesses, ""You think you absolutely need it.""
+The first and funniest of the put-downs is a blind taste test for avowed fans of Coca-Cola (""You can't beat the real thing!"") and Pepsi-Cola (""You gotta have it!""), conducted like a wine tasting, complete with water to clear the palate. It turns out that without the familiar bottle, most of the 72 boys and girls could not tell which was their proclaimed favorite; some even chose R.C. Cola!
+The proceedings are conducted without a touch of self-righteousness by the engaging Jim Fyfe, who plays, among other roles, a local-news anchor, a detective investigating products that have the promise of fruit on the package but barely a semblance of it inside and a crazed scientist concocting junk food out of test tubes, the point being that many packaged snacks contain more chemicals than vitamins.
+A running complaint here is that the most heavily promoted foods and drinks are mainly repositories of sugar. Mr. Fyfe notes that the line commonly used on commercials for heavily sweetened cereals -- ""part of a complete breakfast"" -- is blather, since juice, toast and milk will provide just as complete a breakfast and spare young teeth the attacks by gobs of sugar. On the subject of breakfast cereals, he also notes that the likelihood of winning the million-dollar sweepstakes offered by Cookie Crisp is somewhat less than being bopped by a falling meteor.
+The program's put-down of sports drinks like Gatorade as being overpriced and undernourishing -- ""Don't swallow their hype"" -- can be applied to all the products kicked around in this breezy 30 minutes. If you can get the youngsters to watch, they should find it easier to take than spinach. And they might even remember the next time they see a hamburger commercial how it is glamorized for the camera by a ""food stylist,"" with the help of glue, dye and straight pins; even the steam from the fries is fake. Buy Me That 3! A Kid's Guide to Food Advertising  HBO, tonight at 7:30.
+Directed by Edd Griles; written by Alan Kingsberg; Annette Holloway, associate producer; produced by Ellen Goosenberg Kent for HBO and Consumer Reports Television; Joyce Newman, executive producer; Jim Fyfe, host."
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+Your reaction to the scenes of exorcism displayed tonight on ""20/20"" is likely to depend on your attitude toward the Devil. If you share the faith of the two Roman Catholic priests who believe they are driving sinister spirits from a troubled girl named Gina, then you may see the encounter, at 10 P.M. on ABC, as a conflict between good and evil. Otherwise, it may strike you as a throwback to medieval attitudes toward mental illness.
+Tom Jarriel, a ""20/20"" reporter, offers some background into the rite of exorcism, which the Rev. James J. LeBar calls ""the ultimate way of throwing the Devil out of the person."" Dr. James J. Gill, a Jesuit priest as well as a psychiatrist, observes that people with a background in theology are inclined to interpret inner conflict as a battle between Satan and God.
+Gina, the subject of the exorcism, is described by Dr. Warren Schlanger, who treated her in the Miami Children's Hospital psychiatric ward, as ""actively psychotic."" He expresses doubts about demonic possession. But after months of investigation, church officials give their approval to exorcism, and to coverage by ""20/20.""
+So tonight, you can see Father A (for anonymous) conduct portions of the rite, while Gina, thrashing about, making ugly faces, yelling words that sound like ""sanka dali,"" ""booga booga,"" ""rabaya,"" has to be tied down. Finally, Zion and Minga, two of the diabolical influences Father A believes have been controlling her, are expelled.
+It makes for vivid television. Gina reportedly came out of the exorcism in a calmer state, but needed two more weeks in the psychiatric ward and is now on an antipsychotic medication. She says she is very happy and thanks God for her liberation from evil. Dr. Gill says, ""If she believes that exorcism is going to be helpful, in all probability it will be."" 20/20 Exorcism Directed by George Paul; produced by Rob Wallace for ABC News; Victor Neufeld, executive producer; Tom Jarriel, correspondent. At 10 tonight on ABC."
+False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,True,True,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,True,False,True,True,False,True,False,False,False,True,False,True,True,False,False,True,True,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; Gielgud, His Own Kind of Royalty
+Sir John Gielgud is introduced tonight on PBS's ""Talking With David Frost"" as ""the greatest theatrical actor alive today."" Mention of the greatest anything often smacks of exaggeration, but not in this instance. Sir John is the last of a legendary acting group that included Laurence Olivier, Edith Evans, Ralph Richardson and Peggy Ashcroft. Talk about British royalty.
+Now 88 years old, Sir John sits facing Mr. Frost on the stage of London's restored Playhouse, a theater he actually never played. Wearing a brown suit, cream vest, white shirt, tie and handsome jade ring, the actor looks remarkably fit. And as becomes clear in the course of a conversation that ranges back to his childhood, he is enviably lucid. The manner is thoroughly British: bemused, amusing, artfully self-deprecating.
+Although his father was a stockbroker, Sir John speaks of being born to the ""Terry purple,"" a reference to his great-aunt Ellen Terry, perhaps the most famous of all Victorian actresses. His childhood interest in theater focused on set and costume designing, but in 1921 he began his career as an actor. Among those who influenced his acting style he makes special mention of Noel Coward and, somewhat surprisingly, Claude Rains. Sir John evaluates his younger self rather severely: ""Very conceited, very effeminate, much too fond of my voice."" He recalls with a laugh that when friends became bored with his ""theatrical chat,"" they'd say, ""Oh, put a crown on his head and send him on.""
+Sir John is frank about his complex and competitive relationship with Olivier, noting with satisfaction that ""Larry was burning with ambition"" but ""I was a star before him."" On the other hand, Olivier used film, most notably in ""Henry V,"" to become an international star. Comparable success for Sir John would come relatively late in his career, in television productions like ""Brideshead Revisited"" and movies like ""Arthur."" The latter snared him an Oscar in the early 1980's. He now confesses that it ""was a great surprise to me because I did it as kind of a joke: I thought it was rather common.""
+He is adept at sound bites. Working on the film ""Julius Caesar,"" he found the young Marlon Brando ""very modest and very sweet."" Recalling his direction of Richard Burton in a stage version of ""Hamlet,"" he describes the ""madness"" around his star and Elizabeth Taylor as ""a lot of razzmatazz."" He also has a gossipy streak, which at one point he calls one of his more prominent failings. He reveals that Peter Lorre, who worked with him in an early Hitchcock film, was a ""morphia maniac."" And describing how he once found himself sitting near Bob Guccione, he says that the magazine publisher was ""wearing more jewelry than the Dolly Sisters.""
+Children? ""I never wanted to have children. I'd be terrified they'd inherit all my worst qualities."" The hereafter? ""I don't believe in it."" Working on stage again? ""I'm terrified of becoming a sort of boring old guru and of going to theaters and being too much respected."" Last year Sir John did his first movie nude scene in Peter Greenaway's ""Prospero's Books."" Why? ""Everybody else was nude on the set, so I didn't think it was comely of me to refuse.""
+Respected? No doubt. Boring? Not a chance.  'Reckin' Shop: Live From Brooklyn'  PBS, tomorrow. (Channel 13, New York, at 11:30.)
+This black-and-white documentary, commissioned by the PBS series ""Alive TV"" and produced by Mindy Goldberg, goes to Brooklyn in search of hip-hop dancing and its raw explosive energy. The form, with some of its early roots in break-dancing, began on the streets and has now crossed over into music videos and television commercials. Jamal (Rubberband) Boatwright, the show's host and guide, pinpoints the underlying street-smart attitude: ""I like looking like a hoodlum for the simple fact that it keeps people wondering, 'Is he gonna rob me?' They'll walk away real fast. And they get home, they see me on TV. Ain't that something?"" In schoolyards, front porches and clubs, the dancers, singly and in combinations, provide incontrovertible proof that hip-hop is definitely, as they say, ""so hype."" Talking With David Frost Sir John Gielgud PBS, tonight. (In the New York area, Channel 13 at 10 and Channel 49 at 9.)
+Robert Muller, coordinating producer; produced by Wallace Westfeldt for David Paradine Television and WETA Washington; Sue Ducat, executive in charge for WETA; John M. Florescu and David Frost, executive producers; Mr. Frost, host."
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+Husband: ""I don't understand you."" Wife: ""That's just it. You have never understood me. This is the first time you and I have ever talked seriously to one another.""
+(Later) Husband: ""Consider your conscience, some moral sense."" Wife: ""All I do know is that you and I think quite differently about all that. I must find out who's right, society or me.""
+No, this isn't a feminist therapy session taking place in the late 20th century. It's ""A Doll's House,"" written by Henrik Ibsen in 1879 and still seething with insights about the roles of women in societies dominated by men. The Norwegian Ibsen (1828-1906) did not consider himself a feminist, but that denial seems to have been merely pro forma. He did believe, fervently, that ""women had equal rights with men to develop as individuals and become complete human beings.""
+That's the overriding point of ""A Doll's House,"" being given a compelling new BBC reading this Sunday at 9 P.M. on Channel 13 in a special two-and-a-half hour ""Masterpiece Theater"" presentation. A new, pointedly ideological translation by Joan Tinsdale is both sharp and felicitous. And, under the direction of David Thacker, the cast is splendid. Juliet Stevenson, currently a great London success in the play ""Death and the Maiden"" (Actors' Equity rules barred her from the current Broadway production), is Nora Helmer, the wife who will walk out on husband and children, her slamming door once described by a critic as the sound heard round the world.
+In terms of standard British acting, Miss Stevenson is somewhat eccentric, more Actors Studio than technical virtuosity. She also bears a rather striking resemblance, physically and emotionally, to Amanda Plummer. Perhaps best known here, if you moved quickly, for the 1991 British movie ""Truly, Madly, Deeply,"" Miss Stevenson creates a Nora who, far from being the usual icy hausfrau, is a bundle of bubbling emotions, some of them carrying her to the brink of hysteria early on. It's a daring conception, constantly teetering on a tightrope but never taking a serious tumble.
+Miss Stevenson's flibbertigibbet of a wife could very well have left most of the other performers in the shadows, but this batch of British actors is far too wily to be caught in that trap. Trevor Eve (""Parnell and the Englishwoman"") gives Torvald, Nora's insufferably pompous but not entirely unsympathetic husband, the solidity required to maintain the play's balance. Geraldine James (""The Jewel in the Crown,"" ""She's Been Away"") is intensely serene as Kristina Linde, the old friend, oozing bitter emptiness, who suddenly comes back into Nora's life. And in a wonderfully shrewd exercise of barely moving a muscle or showing a hint of emotion, Patrick Malahide (""The Singing Detective"") is Dr. Rank, in love with Nora even more as death hovers near him.
+The obviously gifted Miss Stevenson has, in short, the benefit of a company of colleagues who very carefully keep the play from sinking under her occasional excesses. And in the end, the actress triumphs, making Nora's final long confrontation with Torvald truly memorable. Ibsen is served brilliantly.
+The Last of His Tribe'  HBO Tomorrow at 8 P.M.
+Jon Voight (""Coming Home"") is the anthropologist Alfred Kroeber and Graham Greene (""Dances With Wolves"") is Ishi, the lone survivor of a lost Indian tribe, in this true-story movie. Discovered living in California in 1911, Ishi was taken by Dr. Kroeber to the University of California in San Francisco where, with the help of Dr. Saxton Pope (David Ogden Stiers), an effort would be made to document the slaughter of the Yahi tribe by white marauders. Members of many American Indian tribes appear in the film, and the language translations are authentic. In time, the student becomes the teacher, as Ishi reveals to Kroeber his beliefs concerning life and the land. Slow, but sensitively acted and finally quite moving. Masterpiece Theater A Doll's House  Directed by David Thacker; Henrik Ibsen's play translated by Joan Tinsdale; produced by Simon Curtis for BBC Productions; Rebecca Eaton, executive producer of ""Masterpiece Theater""; Alistair Cooke, host. Sunday at 9 P.M. on Channels 13 and 49. Nora Helmer . . . Juliet Stevenson Torvald Helmer . . . Trevor Eve Kristina Linde . . . Geraldine James Dr. Rank . . . Patrick Malahide Nils Krogstad . . . David Calder Anne-Marie . . . Helen Blatch Helene . . . Sonia Ritter Porter . . . Dennis Clinton Ivar Helmer . . . Joe Anderson Bob Helmer . . . Max Anderson Emmy Helmer . . . Alexandra Gill"
+False,False,False,True,True,False,True,False,True,False,True,True,False,False,False,False,False,True,False,False,False,True,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,True,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,True,True,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,True,True,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,True,True,False,True,False,True,False,True,True,False,False,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,True,False,True,False,True,True,False,True,False,False,False,False,True,True,False,True,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,"Review/Television; The Easing of America's War on Drugs
+On land, on sea, in the air, the United States is losing the fight to keep cocaine out of the country. That is the message of ""What Happened to the Drug War?,"" tonight's in-the-field expose of high-tech, high-priced, high-hyped weapons that seem to have flopped.
+The action takes place along the United States-Mexico border, across which an estimated 70 percent of the nation's cocaine supply finds its way. Among the costly and apparently unavailing operations mounted by Washington to dam the flow are the use of special speedboats, helicopters and radar planes ($30 million apiece) by United States Customs; the Humvees and nightscopes used by marines, and radar blimps known as aerostats used by the military to detect smugglers.
+The story of the aerostats, as related in this tough ""Frontline"" report, is particularly instructive. The Pentagon was not enthusiastic about the blimps, which cost $18 million each and have serious technical limitations, but they were pushed through Congress anyway. A main booster was Senator Dennis DeConcini, an Arizona Democrat who, NBC News reported in 1989, had close ties to lobbyists working for a company that won most of the $100 million aerostat contract.
+Jack Blum, who specialized in drug matters for the Senate Foreign Relations Committee, calls the aerostats ""a tremendous boondoggle,"" and the program goes into detail on its defects. Senator DeConcini, their champion, might be describing the lobbying effort when he tells of ""a great big balloon, filled with gases that keep it afloat."" Explaining the campaign contributions he received from the lobbyists and their employers, he says, ""They feel I'm an honest candidate.""
+Another enthusiast for the fancy weapons that by this account have done little to catch smugglers is Carol Hallett, head of the Customs Service in the Bush Administration. She tells an interviewer that the fact that in 1991 and 1992 there was only one drug bust attributed to radar surveillance demonstrates that ""for all intents and purposes, the air war has been won along the southern border."" The tone of tonight's narration is skeptical.
+Turning to the smuggling by land, which no one claims has been stopped or even significantly reduced, the program reports that the Justice Department has investigated allegations of corruption of customs inspectors on the bridges between Mexico and the United States; the going price is said to be $10,000 a shipment. The Customs Service denies that any of its agents were involved.
+""What Happened to the Drug War?"" concludes with the prediction that the flow of cocaine is bound to increase along with increased trade with Mexico. Since the stuff can bring $1 million for a single truckload, that seems a safe guess. The only consolation provided tonight is that some manufacturers, lobbyists and legislators are doing all right. 'Dateline NBC'
+NBC, tonight at 10 (Channel 4 in New York)
+Every few years somebody does an expose of the funeral industry, but nothing much seems to change; the abuses evidently enjoy eternal life. Most of tonight's edition of ""Dateline NBC"" is given to Michele Gillen's findings that mourners are still being bilked by sellers of wildly overpriced coffins and accouterments; a hidden camera catches a couple of dubious pitches. A currently popular scam involves ""pre-need contracts,"" in which a buyer pays up front for a future funeral. Better read the small print!
+Most of this report, which is heavy on hand-wringing, has to do with the care of the dead. To judge by the cases described here, some embalmers and crematoriums are being rather cavalier with other people's loved ones. Ms. Gillen notes that the state boards responsible for regulating the business are dominated by funeral directors. It's enough to put a person off dying. Frontline What Happened to the Drug War?  PBS, tonight at 9. (Channel 13 in New York.) A report written and produced by Jim Gilmore and Joe Rosenbloom 3d for Frontline; edited by Jim Astrausky; Martin Smith, senior producer; David Fanning, executive producer for Frontline."
+False,False,False,False,True,False,True,True,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,True,True,True,False,False,True,False,False,False,False,False,False,True,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,True,False,False,True,False,False,True,False,False,True,True,False,False,False,True,False,False,False,True,False,False,True,False,True,False,False,True,True,False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,True,True,False,True,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; The War Against Misery at Home
+Bill Moyers says that as he walked to work in New York City during the ground war in the Persian Gulf, his attention was drawn to what he calls the paradox of America achieving victory across the seas while the numbers of the defeated at home keep growing. ""The Home Front,"" tonight at 9 on Channel 13, carries the faces of defeat amid the bulletins of victory.
+Although most of what is reported here is familiar from months of coverage on national and local news programs, the miseries of unemployment and homelessness, of cutbacks in schools, hospitals and shelters, continue to resonate. Mr. Moyers makes a sympathetic listener, and the accounts are moving. ""I'm a disposable American,"" says a 55-year-old man who once earned $50,000 a year and now, after months out of work, is reduced to selling jokey hats in a flea market.
+Such experiences are juxtaposed with radio and television dispatches from the Gulf. President Bush's voice is heard frequently. The technique is not subtle. You hear a correspondent reporting, ""The country of Kuwait is burning,"" and the camera goes to a fire in Queens, where two deaths are laid to the closing of a firehouse. The efficient medical care given to a wounded soldier is contrasted with the overworked emergency room of Lincoln Hospital in the Bronx.
+Since Mr. Moyers is not arguing that the United States should not have sent troops to the Gulf and is not blaming the recession on the war, the backs-and-forths seem mainly rhetorical. The soft point of the program is that life would be better if the sort of energy, dedication and dollars invested in saving Kuwait were invested in saving America's cities. Mr. Moyers asks, ""When will we find the same will and resources to win the war here on the home front?"" Not an original question, but one that has to keep being asked as long as the pain reported on here continues. Moyers The Home Front  Produced and directed by Marc Levin; Daphne Pinkerson and Mi Ling Tsui, associate producers; Alan Miller, editor; Judith Davidson Moyers, executive producer. At 9 tonight on Channel 13."
+False,False,False,False,True,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,True,True,False,False,False,False,False,True,False,False,True,False,False,True,True,True,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; It's Jane Seymour, M.D., In the Wild and Woolly West
+One recipe for a successful series: take a contrived concept, sprinkle with homespun truisms updated for political correctness and mix well with tired plot devices. Process and serve. And out comes ""Dr. Quinn, Medicine Woman,"" CBS's new hit on Saturdays at 8 P.M. Possible subtitle: ""Little Shtick on the Prairie,"" and very little, at that.
+Allegedly inspired by the ratings and artistic triumph of the Glenn Close television movie ""Sarah, Plain and Tall,"" ""Dr. Quinn"" bears no resemblance to that intensely lean story, based on an award-winning children's book by Patricia MacLachlan (a two-hour sequel, ""Skylark,"" also starring Ms. Close and Christopher Walken, will be broadcast Sunday on CBS). Developed by Beth Sullivan with CBS Entertainment, ""Dr. Quinn"" is a television construct, its every nuance calculated out of lowest-common-denominator concerns. Art, or even craft, decidedly takes a back seat to commerce.
+Played by the British actress Jane Seymour, once queen of mini-series, Dr. Quinn is Michaela Quinn, one of the first women to become an M.D. in America. She calls herself Mike. Educated in the East, she has settled in Colorado, where she quickly becomes the mother of three orphaned children. The year is 1867. You couldn't tell by the coiffures, which, especially in the opening credits, suggest a shampoo commercial in the making, even as Mike informs us: ""I'm not alone anymore. I've inherited a family, and that might be the biggest challenge of all.""
+One recent episode probably set a record in its opening minutes for multi-cultural sensitivity. Mike informed one of her young 'uns: ""We're all immigrants. Some of us just came to America sooner than others."" Then the camera panned to the village smithy, who happened to be black. ""Robert E. did not come here willingly,"" Mike added. Then, spotting some American Indians, she conceded: ""I was wrong. We are not all immigrants.""
+Subtlety is not a strong suit. You want local color? Get the store owner to announce to the kids, ""We're still out of jawbreakers."" Or, at a picnic, have someone sit on a gorgeous patchwork quilt and shout gleefully, ""Hey, let's pitch some horseshoes!"" Then it's quickly back to the uninspired business at hand.
+There are, of course, elements of conflict and sexism, but nothing that Mike can't handle. When influenza breaks out, the townsfolk are suspicious of a doctor who urges isolating the sick from the healthy and who explains that the flu is caused by a germ. ""What the hell is a germ?"" one man snarls. Undismayed, Mike even accepts the help of a town whore in tending to the sick. When the quinine medication starts to run out, a stud in suede, who turns out to be a kind of new-age loner named Byron Sully (Joe Lando), suggests trying a certain kind of tea brewed by the Cheyenne Indians. And when Mike herself falls sick, Sully goes to fetch the tribe's medicine man, who just barely escapes detection by a determined United States soldier named George Custer.
+In another episode, crotchety Loren Bray (Orson Bean) gets tetchy about having Mike treat his hernia. ""Don't you go touching me,"" he warns, adding that ""I won't have you messing with my innards."" As it happens, Loren's daughter, now dead, was married to Sully, and the old codger is determined to take back land she meant to leave to her husband. When Loren finally undergoes hernia surgery, it turns out that he'll need a blood transfusion. Sully nobly steps forward as donor, with warm smiles all around.
+Meanwhile, Mike's daughter, Colleen (Erika Flores), is crying about not receiving a birthday-party invitation: ""Nobody likes me just because I always know the answer."" Mom does her best to console the girl: ""People who are very popular when they're young often grow up to lead very dull lives."" Of course, this being just after the Civil War, Mom has had no opportunity to meet Madonna.
+When tears aren't welling, Ms. Seymour walks with a stride that is never less than purposeful, pausing now and then to say ""Trust me.""
+Not this time around, I'm afraid. Certainly not unless and until ""Dr. Quinn"" can come up with a prescription to counteract drivel.  Dr. Quinn, Medicine Woman  CBS, Saturday at 8 P.M. Produced by Arthur Seidel for CBS Entertainment Productions in association with Sullivan Company; Timothy Johnson, co-producer; Ira Diamond, production designer; Roland Smith, director of photography; Brienne Glyttove, costume designer; Greg Garrison, set decorator; Beth Sullivan, executive producer. Dr. Michaela Quinn . . . Jane Seymour Byron Sully . . . Joe Lando Matthew Cooper . . . Chad Allen Colleen Cooper . . . Erika Flores Brian Cooper . . . Shawn Toovey Horace . . . Frank Collison Emily . . . Heidi Kozak Cloud Dancing . . . Larry Sellers"
+False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,True,False,True,False,False,True,False,False,True,True,False,True,False,False,False,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,False,True,True,False,False,False,False,False,True,False,False,True,False,False,True,True,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; Last 'Cosby' Episode Brings the Huxtables A Happy Ending
+Dancing to a Miles Davis rendition of Frank Loesser's ""If I Were a Bell,"" Cliff and Clair Huxtable glide right out into the studio audience and past the other cast members, all of whom are standing and cheering. Without looking back or hesitating for an instant, the couple head straight for a stage exit door and simply disappear. Shared beautifully by Phylicia Rashad, it's a vintage Bill Cosby moment: no fuss, unassuming and brilliantly calculated.
+That's the way ""The Cosby Show"" ends in an hourlong special tonight at 8 on NBC. The family, including Cliff's and Clair's parents, gathers for the graduation of Theo (Malcolm-Jamal Warner) from New York University. Bursting with pride, Cliff is determined to have everyone attend, no matter the scarcity of tickets.
+Bringing matters full circle, a flashback to the show's first episode finds Dad using fake Monopoly money to impress on Theo the folly of wanting to drop out of school. ""You're going to try as hard as you can,"" Dad says. And of course, Theo, now in cap and gown, has done just that, overcoming even the obstacle of dyslexia. The Cosby message about education's importance rings loud and clear. As usual.
+But the time had come for the show to go. Ratings have been sagging, especially after Fox Broadcasting, in its myopic competitiveness, decided to counterprogram with ""The Simpsons,"" doing neither show much good and leaving younger viewers confronted with a pointlessly difficult choice. Mr. Cosby, in turn, responded by becoming noticeably more preachy and falling back on the routines of excessively cute tots, those most tired sitcom cliches.
+But so what? At its best, and that covers the bulk of the eight-year run, ""The Cosby Show"" soared, demolishing some pet network theories. Back in 1984, the sitcom form was being pronounced dead by a good many experts. No more, went the laments, will we see the likes of Lucy and Ricky, or Archie and Edith. Then, with not much initial network enthusiasm, along came the Huxtables. The show turned out to be the top-rated series of the 1980's, with 20 percent more viewers than ""60 Minutes,"" its nearest competitor. Tackling still another persistent network taboo, the cast consisted almost entirely of black performers who were not called upon to be silly clowns, pathetic addicts or menacing thugs.
+With his executive producers, Marcy Carsey and Tom Werner, and his co-creators on the series, Ed. Weinberger and Michael Leeson, Mr. Cosby took the sitcom form and turned it into an intensely personal working space, just about obliterating the line between the performer and the character being played. To an unequalled degree on prime-time entertainment, Cosby is Huxtable, going so far as to add to the show, after the premiere, an oldest daughter so that the fictional configuration of four daughters and one son would coincide with that of his own real family.
+In retrospect, the series was simply the next inevitable step in Mr. Cosby's extraordinary career. In his earlier stand-up comedy appearances and recordings, he constantly used his own experiences as basic material. Some of those routines were later incorporated into ""Cosby Show"" episodes (a tactic later used to spawn series like ""Roseanne"" and ""Seinfeld""). And even his early childhood was used to flesh out the Saturday-morning cartoon series ""Fat Albert and the Cosby Kids."" But it would be a mistake, I suspect, to think that the carefully fashioned public persona reflects the entire man.
+For someone who frequently lauds the benefits of discipline, Mr. Cosby has made a habit of breaking rules. He does not, for instance, play traditional industry games, especially the ones involving prize competitions. His refusal to participate in glitzy ceremonies no doubt accounts for the fact that one of the most popular shows in television history has won only six Emmy Awards over the years.
+More to the point, despite his disarming insistence that ""The Cosby Show"" is just another sitcom about a middle-class family that happens to be black, Mr. Cosby single-handedly and uncompromisingly brought a new level of consciousness to prime time. The Huxtables don't just happen to be black. They are triumphantly black and protective of their heritage, in addition to being upwardly mobile. How do they jibe with the reality of most black Americans? Never underestimate the power of images. In the role of quiet revolutionary, Mr. Cosby has been cleverly using an old lure: the American dream. Obviously, it still works. The Cosby Show  Created by Ed. Weinberger, Michael Leeson and Dr. William H. Cosby Jr., Ed.D. The final episode, ""And So, We Commence,"" was written by Janet Leahy, Gordon Gartrelle, Courtney Flavin and Hugh O'Neill. Terri Guanieri, Mr. Gartrelle and Adriana Trigiani, producers; Marcy Carsey, Tom Werner and Ms. Leahy, executive producers. A production of the Carsey-Werner Company in association with Bill Cosby. Tonight at 8 on NBC. Dr. Cliff Huxtable . . . Bill Cosby Clair Huxtable . . . Phylicia Rashad Sondra . . . Sabrina LeBeauf Theo . . . Malcolm-Jamal Warner Vanessa . . . Tempestt Bledsoe Rudy . . . Keshia Knight Pulliam Elvin Tibideaux . . . Geoffrey Owens Olivia . . . Raven-Symone"
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+Another sweeps period is upon broadcasters, and strenuous efforts are again being made to raise the ratings that will determine what advertisers will pay in the months ahead. Not everyone can have the Olympic Games, so the others are left with the business-as-usual spate of television movies about sociopaths. Tonight's, on NBC at 9, is ""Till Death Us Do Part."" It's better than most.
+The production represents a stretch in more ways than one. In terms of physical appearance and tone, the story unfolds as if it happened yesterday. In fact, it happened 25 years ago. Phil Rosenberg's teleplay is based on a book Vincent Bugliosi wrote with Ken Hurwitz. Here Mr. Bugliosi, played by Arliss Howard, is a young prosecutor with the Los Angeles District Attorney's office. Just three years out of law school, he already has a reputation for never losing a case. Later, of course, he will leap to national fame as the prosecutor in the Charles Manson case.
+""Till Death Us Do Part"" pits Bugliosi against Alan Palliko, a former policeman with a fierce compulsion to control. When a man is found murdered just a month after he has remarried his wife who has taken out a large insurance policy on him, and when the wife's boyfriend turns out to be Palliko, Bugliosi is convinced he has his man. Palliko is merely contemptuous, growing increasingly bolder and openly challenging the frustrated prosecutor: ""Only losers play by the rules. You and me take chances. You can't push me around, not now, not ever."" As the villainous Palliko, barely able to contain his sadistic rage, Treat Williams puts his meandering career back on track.
+Except for Bugliosi's wife (Valerie Mahaffey), here portrayed as a rather unbelievable paragon of sensitive support, the women in this brutish tale tend to be either lovesick bimbos or hopelessly naive masochists. Woman-as-victim is a popular sweeps motif. It takes far too long, for instance, for Palliko's oft-battered wife to get fed up with his viciousness. In the end, of course, there is the promise of comeuppance and, with Bugliosi on the case, that's pretty much assured from Scene 1.
+An unusual aspect of the story is its handling of the concept of ""reasonable doubt,"" the indispensable weapon of defense lawyers. Bugliosi's prosecution of Polliko rests entirely on circumstantial evidence but, reminding the jury that ""we don't live in a perfect world"" and dramatically using a short rope as an illustration in his final summation, he argues that the linking of certain facts, the logical progression from one to another, can be irrefutable, no matter what possible doubts the defense can devise. ""You really were wonderful,"" says Mrs. Bugliosi, beaming.
+Directed by Yves Simoneau of Canada, ""Till Death Us Do Part"" manages to be grisly, scary, silly and, making it a bit different, provocative.  Till Death Us Do Part  Directed by Yves Simoneau; written by Phil Rosenberg, based on a book by Vincent Bugliosi and Ken Hurwitz; presented by NBC. At 9 tonight on NBC. WITH: Arliss Howard, Treat Williams, Rebecca Jenkins, Embeth Davidtz, Valerie Mahaffey and John Schuck."
+True,False,False,False,False,True,True,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,True,True,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Chased or Chaste Around the Copying Machine?
+""Sex,"" says Linda Ellerbee, doing her duty as co-host of ""Dangerous Propositions,"" tonight at 9 on the Lifetime channel, ""is all mixed up with power."" That is a theme of this fairly standard treatment of sexual harassment, apparently intended for viewers who have missed all the other programs on what has been a popular television subject for several seasons.
+Groups of women and men of various ages are brought together to try to define sexual harassment and tell of their experiences with it and their attitudes toward it, however defined. One definition offered here by a psychotherapist is ""provocative sexual behavior that is not wanted,"" which reasonably enough leaves the call to the person on the receiving end.
+There is general agreement that men in positions of power, like employers and supervisors, have to be especially careful about their words and actions, and that the more active forms of sexual attention, like pouncing, grabbing and chasing around the copying machine, are off limits for anyone. ""You feel so cornered,"" says a woman who brought a complaint against her former boss, a Congressman.
+A funny and probably effective response to offensive practices is described by another woman, a plain-talking truck driver. When she was confronted with a selection of pornographic pictures in the company office, she complimented the man displaying them on his lovely family.
+The murkier area has to do with the universal practice of flirting (""men and women doing their thing,"" as one man describes it), which some men think is generally expected, even invited, and some women find annoying or worse, depending on what form it takes and possibly the appeal of the other party. A man, interviewed in a pool hall, says that women are always in control and can always say no. A woman, interviewed at a health club, attributes unwanted overtures to male insecurity about women attaining positions of power. But mutual sympathy also emerges.
+The hour ends with Harry Hamlin, the co-host, urging women to speak up. ""Dangerous Propositions"" leaves the impression that more of them are doing so and that more men, whether they like it or not, are listening. Dangerous Propositions  Lifetime Tonight at 9  Linda Ellerbee and Harry Hamlin, co-hosts; written by Ms. Ellerbee; produced by Joel Hinman; Paula de Koenigsberg, co-producer; Dalton Delan and Donna Harris, executive producers."
+True,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,True,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,True,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; A Mother Is Dying, With Her Daughter to Help
+Suffering from ovarian cancer, the 76-year-old woman decides that there is no point in dying slowly -- none -- and she asks her daughter to help her ""end this."" The subject is suicide, a subject that has been leaping out of headlines and best-seller lists in recent years as the national right-to-die debate intensifies. ""Last Wish,"" Sunday's television movie on ABC at 9 P.M., supports that right, offering an impassioned and dignified argument based on fact and made all the more persuasive by the powerful performances of Maureen Stapleton and Patty Duke as the mother and daughter.
+""Last Wish"" was adapted by Jerome Kass (""Queen of the Stardust Ballroom"") from the book of the same name by Betty Rollin, the television journalist. At 74, her mother, Ida, is an active, vibrant widow, attending exercise classes, watching her diet and everyone else's and even being courted by a new boyfriend seven years younger. Suddenly, stomach pains develop, and Ida must undergo surgery.
+""My mother thinks if you're a good girl,"" Betty says, ""you'll never get sick."" But the tumor is malignant, and Ida begins chemotherapy.
+Despite months of pain and nausea, Ida works hard to get better. There are occasional good periods. But eventually it is apparent that the disease is winning and death is approaching. It's at this point that Ida, humiliated by the lack of control over her own body, begins wondering if there is ""such a thing as a pill that can kill you."" Betty is at first reluctant to help, and not just because her action could be ruled illegal.
+""How can I help my own mother kill herself?"" she asks her supportive husband, Ed (Dwight Schultz). ""I don't want her to die; I'm not ready."" In the end, she decides to help precisely because she loves her mother and doesn't want her to suffer. It is Ida's choice to make.
+This network movie is clearly jittery about the sensitive nature of the subject. Various characters, including some doctors, are obviously used to provide balance in arguing the other side of the case. Betty has to call a doctor in Amsterdam to find out what pills work most effectively and in what quantity. Underlined prominently is the specter of a botched suicide that might leave the patient worse off than before.
+What comes through unmistakably in ""Last Wish"" is the special love between a mother and daughter that enables them to make serious decisions with intelligence and total trust in each other. Directed by Jeff Bleckner (""Concealed Enemies""),Ms. Duke and Ms. Stapleton, supporting each other skillfully and generously, give two of the finest performances of their careers.
+As a postscript notes, the truth about Ida's death was revealed only upon the publication of Ms. Rollin's book. No legal action was taken against her or her husband.
+'Days of Our Lives' 'One Stormy Night'  NBC Tonight at 8
+The venerable daytime drama is given a one-hour prime-time spin with a self-contained plot that is easily accessible, the network says, to potential new fans. A storm rages in the fictitious town of Salem. Among other crises, Jack and Jennifer are trapped on the set of a game show featuring loving couples. You get the idea. Immediately following, at 9, NBC will broadcast the ""Eighth Annual Soap Opera Digest Awards,"" with George Hamilton and Emma Samms, veterans of ""Dynasty,"" as hosts. Geraldo Rivera will present the best death scene award, while Marla Maples hands over the award for outstanding love story. The soaps, it seems, have a sense of humor after all.
+'ACE Awards'  TNT Sunday at 9 P.M.
+This celebration of cable television reaches its 13th annual outing with a live show from Los Angeles. Cybill Shepherd and Danny Glover are the hosts. CNN will get a special salute for its coverage of the Gulf war. At press time, neither Geraldo nor Marla was scheduled to appear. Last Wish Directed by Jeff Bleckner; written by Jerome Kass, based on the book by Betty Rollin; director of photography, Francois Protat; editor, Tod Feuerman; music by David Shire; art director, Tony Hall; produced by John Danylkiw for Grossbart/Barnett Productions; Joan Barnett and Jack Grossbart, executive producers. Sunday night at 9 on ABC. Betty Rollin . . . Patty Duke Ida Rollin . . . Maureen Stapleton Ed Edwards . . . Dwight Schultz Alvin . . . Lee Wallace Shany . . . Tresa Hughes Rose . . . Patricia Englund Dr. Burns . . . Ian D. Clark Maryanne . . . Diane D'Aquila"
+False,False,False,False,True,False,True,True,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,True,False,True,True,True,False,True,False,False,True,False,False,False,False,False,True,True,False,True,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,True,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,False,True,True,False,False,True,True,False,True,False,False,True,True,False,False,False,True,False,False,False,True,True,False,True,False,True,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,True,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; Pearl Harbor, as Both Sides Saw It
+Let no one charge that the 50th anniversary of Pearl Harbor caught television by surprise.
+During a week on location in Hawaii in November, NBC's ""Today Show"" packaged a minute-by-minute recounting of the Japanese attack between scenes of Hawaii today, including Willard Scott doing the hula and a visit to a leper island. PBS delivered its early strike last month with an ""American Experience"" account of the attack titled ""Pearl Harbor: Surprise and Remembrance,"" which will be repeated on Saturday, at 2:30 P.M. on Channel 13.
+Also scheduled for Dec. 7, at 8 P.M., on Channel 2, is ""Remember Pearl Harbor,"" co-produced by CBS and the Tokyo Broadcasting System and commanded by Charles Kuralt and Gen. H. Norman Schwarzkopf. And at noon CNN will carry live the Navy's commemorative ceremonies in Pearl Harbor.
+ABC's offering, at 9 tonight on Channel 7, was produced with NHK, Japan's biggest television network. ""Pearl Harbor: Two Hours That Changed the World"" moves between memories of Japanese pilots and American sailors to create a tense account of the events leading up to the assault that pulverized America's Pacific fleet.
+The background for the attack, which has been subject to considerable contention among historians, is laid out by David Brinkley in a straightforward way that avoids revisionist detours. In the view of the Japanese military, only American power -- particularly in the form of the battle force gathered at Pearl Harbor -- stood in the way of Japan's conquest of much of Asia. While diplomats were negotiating in Washington in December 1941, Japanese aircraft carriers were steaming toward their target. Mr. Brinkley shrugs off recurrent charges that President Franklin D. Roosevelt knew of Tokyo's plans but kept them from commanders in the field in hopes that a surprise attack would rouse the nation for a war he wanted.
+Using photographs from both American and Japanese archives, as well as documentary film shot by John Ford (it is not always easy to tell which is which), the program goes back and forth between attackers and attacked. The memories of the Japanese pilots confirm everything you have read about the war spirit then prevailing in the Japanese military. ""I felt courageous,"" says one. ""It was very honorable to be chosen as one of the first to strike the opening blow.""
+The adversaries shared serious misconceptions about each other. For most Americans, Japan was a far-off little country made up of little people who produced cheap little souvenirs. The impression of America, cultivated particularly in the Japanese military, was almost as simplistic. A naval officer, noting that America was made up of many races, says he and his comrades ""therefore assumed that the American people had no united loyalty to their country and no desire to fight for it.""
+The program contrasts the purposeful dedication of the Japanese on Dec. 7, 1941, with the confusion of the Americans. A Japanese pilot recalls having a ""serene feeling that I was going to be a man, that I was about to flower and bear fruit."" Daniel K. Inouye, the Japanese-American Senator from Hawaii, says he called up to the attacking planes, ""You goddam Japs.""
+To pictures of the place where the battleship Arizona went down with 1,177 crew members, Mr. Brinkley says: ""The ship's rusty hull under 40 feet of water is still leaking oil. A drop rises to the surface about every 20 seconds. It is sad and spooky, like a message silently floating up from an underwater tomb.""
+Coming after such pictures, the comments of personages like George Bush, Prime Minister Kiichi Miyazawa of Japan and Eric Sevareid seem vapid. Among the lingering images of the changes wrought over a half century is the Honolulu skyline, which Mr. Brinkley calls ""a symbol of Japanese economic power."" He also notes that when today's Japanese think about World War II, the images that stay in their minds are not of Pearl Harbor but of Hiroshima and Nagasaki. Pearl Harbor Two Hours That Changed the World An ABC News-NHK special, directed by Roger Goodman; written by David Brinkley; Lionel Chapman and Yuji Hashimoto, senior producers; Phyllis McGrady and Yoshihisa Hayashi, executive producers; David Brinkley, anchor. At 9 tonight on ABC."
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+Fans of military marches are in luck. ""If You Knew Sousa,"" tonight's offering in ""The American Experience"" series, is filled with the music that has been stirring patriotic juices for more than a century.
+The series host, David McCullough, calls the Sousa march America's answer to the Strauss waltz. Although the rousers reached their peak of popularity in the early 1900's, bands around the country are still beating out ""The Stars and Stripes Forever"" and ""The Washington Post March,"" and you can hear them and other favorites through most of tonight's 90-minute documentary.
+The program makes a connection between the march tempo and the upbeat spirit of America in Sousa's time. His were not the sounds of depression or recession, and they made him a superstar before that word was invented. His career is laid out by engaging archival photographs and old recordings; the details of his life, less stirring than his tunes, are filled in by enthusiasts, especially Loras Schissel of the Library of Congress.
+In the 1920's, when jazz seemed to be taking over, Sousa commented, ""Just now it is the style to be crazy."" He kept conducting up until a few hours before his death in 1932, ending his career on an apt upnote, leading a band in ""The Stars and Stripes Forever."" Through such Sousa favorites, tonight's documentary calls up a robust, optimistic era that seems more distant all the time. 'Ute Lemper  Sings Kurt Weill'
+Bravo, tomorrow at 9 P.M.
+Robust and optimistic are not words that spring to mind from the music of Kurt Weill. If Sousa was imbued with 19th-century optimism, Weill reeked of 20th-century disillusion. This hourlong concert, recorded at the Bath International Festival in May 1989, is also an opportunity to meet Ute Lemper. Although her interpretations seem a touch over-emoted at times, the lovely young German cabaret singer, performing on a darkened stage to Jurgen Knieper's accompaniment, has evident feeling for Weill's work, particularly from his German period.
+Here, in subtitled German, are such Weill standards as ""Mack the Knife"" and ""Surabaya Johnny"" and an affecting English version of ""Moon of Alabama."" Now and then, 1920-ish black-and-white pictures of a bleak Berlin flash on a screen behind or seemingly all around the black-attired singer as counterpoint to the lyrics. If you're taken with Ms. Lemper, who offers a few comments on this and that between songs, you may be able to catch her on tour this month and next in New York, Los Angeles, San Francisco and Chicago, singing songs identified with Edith Piaf and Marlene Dietrich. 'The Ernest Green Story'
+Disney, Sunday at 7 P.M.
+If virtue is its own reward, the producers of ""The Ernest Green Story"" should be richly compensated. Ernest Green was one of the nine black students who broke the racial barrier at the all-white Central High School in Little Rock, Ark., in 1957, with the help of 1,200 paratroopers. Tonight's play, told from young Ernest's point of view, pits a few brave black teen-agers against malevolent white politicians and racist mobs. That is not inaccurate as far as it goes, but it does not go nearly far enough to make for adult drama. This largely predictable exercise, with Morris Chestnut as Ernest and Ossie Davis and Ruby Dee playing familiar parts, can be recommended for youngsters. Grown-ups, stick with ""60 Minutes."" 'Telling Secrets'
+ABC, Sunday and Monday at 9 P.M.
+For four unenthralling hours, ""Telling Secrets,"" based on a 1989 murder in Phoenix, tells the story of some people who manage to be odd without being interesting. Cybill Shepherd is supposed to be a femme fatale; Ken Olin plays the least assertive detective west of the Rockies. Among its many other deficiencies, the screenplay has no detecting to speak of and no real focus; it drifts here and there, pausing now and then for a pleasing glimpse of Ms. Shepherd in underwear. She does wonders for a money belt. 'The American Experience' 'If You Knew Sousa'  Channel 13, tonight at 9 A portrait of John Philip Sousa produced by Tom Spain and Linda Spain for ""The American Experience,"" a co-production of WGBH/ Boston, WNET/New York and KCET/Los Angeles; written by Mr. Spain; edited by Ms. Spain and Andrew Fredericks; Judy Crichton, executive producer of ""The American Experience""; Charles Kuralt, narrator.
+Correction:  January 16, 1993, Saturday
+The TV Weekend column yesterday gave an incorrect time for the program ""Ute Lemper Sings Kurt Weill"" on the Bravo cable channel. It is to be shown tonight at 7, not at 9."
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+Some viewers find celebrity profiles irresistible. And all networks find those cheap-to-produce collections of old clips irresistible. So ""60 Minutes: The Entertainers"" should have been a winner. The two-hour special, including excerpts from 23 years' worth of show-business interviews, will be shown on CBS tonight at 9. It's painless, but easy to resist.
+The problem is not the profiles as they originally appeared, but the hit-and-run way they are edited: a few minutes of Robin Williams visiting with Jonathan Winters, a bit of Shirley MacLaine asking Mike Wallace what's wrong with reincarnation, a touch of Jackie Gleason playing pool, then on to the next truncated interview. The ""60 Minutes"" sense of celebrity has never been all that sophisticated -- no one thinks it's peculiar when George Burns takes Ed Bradley to Forest Lawn to visit Gracie -- but in their full-length form the interviews offered a satisfying sense of having spent time with an icon.
+In fact, the approach of ""The Entertainers"" works best when it is taken to its extreme and interviews are literally edited into sound bites. Some of the best moments are the brief lead-ins to commercials. Elizabeth Taylor and Richard Burton demonstrate how they insult each other during their marital spats, and Itzhak Perlman offers a deservedly irreverent answer to Mr. Wallace's question, ""Why is it that so many world-class fiddle players are Jewish?""
+There are performance clips that make the special worthwhile, including a duet in which Liza Minnelli and Judy Garland sing their version of ""Hello, Dolly!"" -- ""Hello, Liza"" and ""Hello, Mama."" But ""60 Minutes"" doesn't do itself any favors by using ""That's Entertainment"" as its opening song. It only brings to mind the movie of that title -- a much better collection of clips -- and suggests what this special might have been. 60 Minutes The Entertainers Directed by Arthur Bloom; Merri Lieberthal, co-producer; Philip Scheffler, senior producer; produced for CBS News; Don Hewitt, executive producer; Mike Wallace, Morley Safer and Ed Bradley, hosts. At 9 tonight on CBS."
+False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,True,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,True,False,False,False,True,False,False,True,False,False,True,True,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,"Review/Television; A Baby Shower Can't Hurt Ratings
+Johnny Carson's departure only seems as if it's been going on for nine months as NBC keeps milking the hype and ad-rate machines. In the end, on May 22, Mr. Carson will no doubt depart quietly, still nurturing his treasured privacy. Over on CBS, meanwhile, ""Murphy Brown"" will be bringing a real -- well, sort of -- nine months to a conclusion with the birth of a baby. That entails a completely different kind of nurturing.
+This, friends, is a sweeps month. Ratings are crucial to the prices networks can charge advertisers in coming months. What to do? The industry calls it stunting; that is, do anything to attract more attention. Weddings, births and sentimental departures are favorite tactics.
+The calculated big moments for Johnny and Murphy are hardly coincidental. Just look at the current marriage boom: the characters of Adam and Eve on ""Northern Exposure"" (CBS); Paige and Kenny on ""Life Goes On"" (ABC); Dorothy and Lucas on ""The Golden Girls"" (NBC); Woody and Kelly on ""Cheers"" (NBC); Whitely and either Dwayne or Byron on ""A Different World"" (NBC). What kind of cad would ever suggest that the networks march in a creative lockstep?
+On occasion, though, the ploys do work beautifully. All it takes is a talent for spiking tired situations with a hefty shot or two of originality. ""Murphy Brown,"" as might be expected, does just that tonight at 9 with a baby shower and then again next Monday with the birth itself. Getting Murphy pregnant was not the most promising idea in the world, and a couple of the subsequent scripts decidedly bode ill for the series. But these two episodes bring the show's current season to a conclusion that finds Murphy and gang at the very top of their form.
+As the blessed event draws closer, Murphy's testiness is taking on the proportions of holy terror. Murphy, who now envelops the nonpregnant Candice Bergen's performance like a second skin, waddles around the television offices of the ""F.Y.I."" news magazine looking like some dreadfully out-of-sorts Santa Claus as she mutters something about her leg veins resembling the Interstate.
+She considers baby showers cruel and unusual punishment. Of course, Corky (Faith Ford) has already sent out the invitations. Calming down in Corky's chintz-covered office (""It's like walking into Victoria's Secret,"" sneers the mother-to-be), Murphy has a few pointed questions. Are gifts guaranteed or optional? Are the invited guests deadbeats or people who can afford expensive Scandinavian baby furniture? Frank (Joe Regalbuto) starts complaining that he can't go ""just because he's a guy."" In the course of 22 minutes, Michael Patrick King's script hits a good many buttons.
+Well, as is obvious from the ads, the shower goes on, and the guests are Murphy's television peers, women from network news and magazine formats. NBC is generously given an opportunity to hog the CBS showcase with Katie Couric and Faith Daniels, both of ""Today,"" and Mary Alice Williams from ""Sunday Today With Garrick Utley."" But also included are Paula Zahn from CBS's ""This Morning"" and Joan Lunden from ABC's ""Good Morning, America."" Says Murphy in mock horror: ""Ohmigod, it's a blond street gang.""
+Now would be a perfect opportunity for a learned essay on the fading line between news personalities and entertainers. But that's another column, a standard evergreen. What does come through clearly is the need for anyone prominent on television to be a performer. It should be noted that Walter Cronkite was one of the first newscasters to participate in ""Murphy Brown."" And just last week, Geraldo Rivera was on ""Perry Mason,"" portraying a tabloid-television host eerily like himself. So it should come as no surprise that tonight's visitors hit their marks and deliver their lines like performing pros. That's precisely what they are.
+The shower? It's packed with wonderful lines and inspired poking. ""O.K., everybody,"" shouts Corky, setting up a group photograph, ""everybody say 30 share."" Next week's birth? Depend on ""Murphy Brown"" to put a memorably wacky spin on the familiar, managing in the process to drag in everything from underwear and bathing suits to a stapler and Maryland crab cakes. Slipping in the songs ""Chantilly Lace"" and ""A Natural Woman"" are just two of the more memorable touches. And, for all of the laughs, you won't get away without being deeply moved.
+As Murphy might succinctly put it when happily bowled over, ""Aw, jeez.""  Murphy Brown A Chance of Showers  Directed by Peter Bonerz; written by Michael Patrick King; produced by Shukovsky/ English Productions in association with Warner Brothers Television; Diane English and Joel Shukovsky, executive producers. At 9 P.M. tonight on CBS. Murphy Brown . . . Candice Bergen Phil . . . Pat Corley Corky Sherwood-Forrest . . . Faith Ford Jim Dial . . . Charles Kimbrough Eldin Bernecky . . . Robert Pastorelli Frank Fontana . . . Joe Regalbuto Miles Silverberg . . . Grant Shaud Katie Couric . . . Herself Faith Daniels . . . Herself Joan Lunden . . . Herself Mary Alice Williams . . . Herself Paula Zahn . . . Herself"
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+Goodbye Twin Peaks. Hello, Edenton. ""Innocence Lost,"" tonight's absorbing and troubling report from the wishfully named North Carolina coast town of 6,000, digs into the fears and weaknesses behind the golf and horseback riding, the cocktail parties and churchgoing that make small-town life seem so quietly inviting. The title of the two-hour edition of ""Frontline,"" at 9 on Channels 13 and 49, refers less to the scores of children between the ages of 2 and 5 who their parents and the District Attorney say were sexually abused than to the town itself.
+Most viewers are likely to leave this carefully developed account with the feeling that the true victims of abuse here are not the children but the seven people who have been charged with abusing them. For the last 16 months, Robert and Betsy Kelly, the couple who owned and ran Little Rascals, the town's best day-care center, have been in prison, facing sentences of life imprisonment. Three employees and two other town residents are also awaiting trial. Mr. Kelly's trial, the first in the case, is to begin next month.
+The program's producer, Ofra Bikel, interviewed several parents among the majority who say they are convinced that their children were abused and a few others who doubt it; defendants and their relatives; the District Attorney, and defense lawyers. Like the defense, Ms. Bikel was not permitted to speak to the children, whose testimony is to constitute the prosecution's case or to the three state-hired psychologists who elicited it.
+The charges are traced to one child's complaint that he had been slapped at Little Rascals. His mother, then Mrs. Kelly's close friend, tells Ms. Bikel, ""At that moment I knew that life would never be the same again."" When Mrs. Kelly refused to apologize, someone began spreading rumors of physical and sexual abuse.
+The interviews with the parents are disturbing. Several had been friends of the Kellys, who were part of the Edenton establishment, but anxiety about their children appears to have overwhelmed other feelings.
+One former friend says: ""I despise Betsy. I hate Betsy."" The defendants, their families and their defenders have been ostracized. Mr. Kelly's lawyer, another old friend, withdrew from the case when his own son was named among those who had been molested. He says: ""I don't believe that anyone who is suspected of being a sexual molester of children could be accepted in any part of this community.""
+""Suspected?"" Ms. Bikel repeats. ""Suspected,"" says the lawyer.
+The parents, some of whom tell of dropping in at the center at all times of day, say they never saw anything suspicious, and they agree that their chidren gave no indication of having been abused until they were ""evaluated"" by the psychologists, who decided that most of them needed therapy. It was in these sessions that specifics emerged. ""It took quite a while,"" a parent says.
+Mrs. Kelly is supposed to have fondled children, placed her finger and pencils, sticks and scissors into their genitals and had sexual intercourse with her husband in front of them. One child said that Mrs. Kelly had washed her after she had been raped by Mr. Kelly and that she had also cooked her in a microwave. The co-defendants of the Kellys face similar accusations. The youngest, a 20-year-old woman who has a 2-year-old son of her own, has been named by one 5-year-old as having urinated on children and having asked them to swallow snakes.
+The viewer is left with the narrator's questions: ""Did the children talk on their own accord? Were they asked leading questions? How did they name names? Could the therapists have been influenced by the fact that they are paid by the state?""
+The closest the program comes to answers is in interviews with the few mothers who believe the charges are unjustified. One tells of hearing a psychologist coaxing or coercing her son into naming the accused. For a year, she says, her little boy could not recognize any of the defendants' pictures in the newspaper, but in the psychologist's report, ""he had gotten every one of them right the first time, and she hadn't had to tell him who they were.""
+Another mother says, ""If the way my son was questioned and badgered and repeatedly asked the same thing is an indication of how the other kids were interviewed, I don't find it difficult to believe that these kids are now believing something happened that didn't."" These parents tell of being pressured to conform, and two defendants, young mothers themselves, say they turned down offers of deals for a confession. After more than a year in prison, away from their children, they continue to maintain their innocence.
+One parent who says she is convinced that something bad happened at Little Rascals declares that the case has ""shattered our picture of our lives."" The picture presented by tonight's inquiring documentary is not shattered, just dark.
+""Innocence Lost"" is followed at 11 P.M. by ""When Children Testify,"" a half-hour discussion of some legal and psychological issues raised by the Edenton case. The evening should leave viewers with a more critical attitude toward similar cases that have been making headlines in recent years. Frontline Innocence Lost  Written and produced by Ofra Bikel; David Fanning, executive producer. At 9 tonight on Channels 13 and 49."
+False,False,False,True,True,True,True,False,True,False,True,True,False,False,False,False,False,True,False,False,False,True,False,False,True,True,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,True,False,True,False,False,True,False,False,True,True,False,False,False,True,False,False,True,True,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; The High Cost of Playing Politics
+The title of tonight's ""Frontline"" offering, ""The Best Campaign Money Can Buy,"" is double edged. The program shows how six-figure contributions not only finance the campaigns of Gov. Bill Clinton and President Bush but also buy influence for the contributors.
+This only too relevant hourlong documentary, co-produced by the Center for Investigative Reporting, gives troubling examples of the deals available to members of groups like the Managing Trustees (contributors of at least $200,000 to the Democrats) and the Team 100 (contributors of at least $100,000 to the Republicans).
+Bill Clinton is seen telling a meeting of big givers, ""You can't imagine how important you are in this campaign."" On the evidence presented tonight, such people have no trouble at all imagining it and turning their imaginings into reality:
+*As a condition for arranging a Democratic fund-raiser, Cuban-Americans in Florida, normally inclined toward the Republican Party, insisted that Governor Clinton endorse a bill that would tighten the American embargo against Fidel Castro. The candidate obliged and the meeting produced $125,000.
+*A few days after organizing a million-dollar Republican fund-raising event, a major investor in California agriculture benefited from an emergency order from Washington that reversed Department of Interior policy and sent billions of dollars worth of subsidized water to corporate farms in central and southern California.
+Although donors are not allowed to give more than $1,000 to a Presidential candidate, nothing stops them from giving as much as they please to the political parties, which then funnel the money to the candidates. The program's viewpoint is expressed by Fred Wertheimer, the president of Common Cause, a liberal group that has been working without great success to change campaign financing. He calls the present situation legalized corruption: ""The free flow of money is a formula for selling our government to wealthy people and special interests.""
+The program confirms that some of the nation's biggest political givers are not particular about which party they support. In this year's campaign, ""Frontline"" reports, Atlantic Richfield (ARCO) has given more than $400,000 to the Republican Party and nearly $600,000 to the Democrats. Robert Krulwich, tonight's reporter, notes that ARCO wants permission from Washington to drill for oil in a national wildlife refuge in Alaska.
+The biggest bipartisan contributor, according to this survey, is Dwight Andreas, the head of Archer Daniels Midland, known to viewers of Sunday morning talk shows for those dreamy commercials celebrating its dedication to the nation's welfare. Mr. Andreas has also contributed to the welfare of the Republican Party ticket to the tune of more than a million dollars.
+Mr. Krulwich draws attention to the effects of Government subsidies and other regulations on Mr. Andreas's company, the world's biggest processor of agricultural products. It recently sought a waiver of the Clean Air Act to permit higher sales of ethanol, a fuel made partly from corn. This month President Bush granted the waiver, which promises to bring corn growers and ethanol makers tens of millions of dollars and will presumably enable Mr. Andreas to give even more money to politicians.
+Although tonight's program is occasionally diverted to amusing but off-the-mark anecdotes (like the story of Michael Kojima, who was found to owe child support payments to two former wives after publicity for giving $500,000 to the Bush campaign), it presents an effective case. In particular, the presence of the agreeably informal Mr. Krulwich helps make ""The Best Campaign Money Can Buy"" important without seeming self-important. Frontline The Best Campaign Money Can Buy  PBS, tonight (In the New York area, Channels 13 and 49 at 9.)
+Produced by Stephen Talbot; Sharon Tiller, executive producer, Center for Investigative Reporting; David Fanning, executive producer, ""Frontline""; Robert Krulwich, correspondent. WITH: Eve Pell and Dan Noyes, reporters."
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+Part of the fun in watching drama imports from England, the kind that have become ""Masterpiece Theater"" staples, is realizing that the seemingly new face you're so impressed with belongs to an actor you've seen in innumerable previous productions. England has its stars, to be sure, but the country seems overrun with positively brilliant character actors. Some even manage to hitch their careers to a role, usually in a television series, that evolves into a special stardom of its own.
+Enter David Suchet, stage veteran of the Royal Shakespeare Company, recipient of a spate of awards for his work in film and television. He works steadily, and sometimes quite prominently. A decade or so ago, he gave a masterly performance in the title role of the mini-series ""Freud."" But it's only in recent years, in still another title role, that Mr. Suchet has, as they say, come into his own.
+Fans of ""Mystery"" on public television will have no problem identifying him as the star of ""Poirot,"" the series based on the exploits of Agatha Christie's finicky Belgian detective. Without prompting, however, they might not recognize him in still another title role, ""The Secret Agent,"" the current three-part ""Masterpiece Theater"" offering, based on the Joseph Conrad novel. ""Poirot"" may keep him reasonably busy, but Mr. Suchet, ever the tireless character actor, insists on stretching himself elsewhere.
+In ""The Secret Agent,"" the actor turns sullen and lumbering, his face adorned with thick mustache and bushy eyebrows, his suspicious eyes peering from beneath a derby perched on matted hair. Living in London in the mid-1890's, Adolf Verlac is a triple agent who, among other things, supplies the London police with occasional information about the revolutionaries and anarchists in his circle of acquaintences. Also working for Russia's Czarist regime, he is forced by an official at the Russian Embassy to plot a terrorist act that might prompt the British to clamp down on foreign revolutionaries.
+The plot and dialogue seem quaintly dated, until one reads accounts of Nazis and anarchists on the rise again in today's Germany. More damaging, the production is relentlessly dark and gloomy as it attempts to explore the psychological drama of Verloc. There's the kind of heaviness here reminiscent of the days when the BBC used to tackle weighty adaptations of, say, Sartre. Still, Suchet fans get another opportunity to savor a gifted actor's versatility.
+And then, beginning tonight at 9 on Channel 13 and at 10 on Channel 21, there is ""Poirot."" The fourth season of this series opens with a two-part adaptation of ""The ABC Murders,"" one of Christie's most inventive plots. A murderer begins sending Poirot anonymous letters announcing, in alphabetical order inspired by the ABC Railway Guide, where around the country the next victim will be found. Working with Captain Hastings (Hugh Fraser) and Chief Inspector Jaap (Philip Jackson), an increasingly anxious Poirot works feverishly to solve a case that, as he sees it, pits ""the sanity of a town against the insanity of one man.""
+It's a clever mystery, adroitly laid out. More to the point, the series itself has reached the point where it can relax and enjoy itself enormously. Mr. Suchet's Poirot is now a paragon of charming ego and unquestionable shrewdness. Ever the dandy, the little Belgian, as Diana Rigg calls him in her introductions, wields cane, gloves and homburg in grand style, quite genuinely satisfied with himself as he dashes about taking the tiniest of steps. The occasional bumbling of Hastings is corrected with a mere glance and perhaps an infinitesimal pursing of lips.
+""The ABC Murders"" is crammed with delicious details, from a stuffed crocodile that Hastings has brought back from South America for a decidedly wary Poirot to the obsessive master detective arranging everything in his kitchen cupboards according to height. And it would be impossible to find another television series using a line like ""You little jackanapes!"" ""Poirot"" just keeps getting better. Much like Mr. Suchet. Mystery! Poirot IV The ABC Murders  PBS, tonight at 9 (Channel 13 in New York). Directed by Andrew Grieve; written by Clive Exton, based on a story by Agatha Christie; produced by Brian Eastman for London Weekend Television; Nick Elliott, executive producer. Hercule Poirot . . . David Suchet Captain Hastings . . . Hugh Fraser Chief Inspector Japp . . . Philip Jackson Inspector Glen . . . David McAllister Andover sergeant . . . Alex Knight Dr. Kerr . . . Allan Mitchell Mary Drower . . . Cathryn Bradshaw"
+True,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,True,True,False,False,False,False,False,True,False,True,False,False,False,True,True,True,True,True,True,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; Good Manners Come From the Barrel of a Gun
+The scene: A supermarket parking lot. A purse is snatched from a well-dressed businesswoman named Mrs. Dean. Running after the thief, Billy the checkout boy is fatally shot. The woman keeps screaming about her purse. Mrs. Cage, an older woman who has been watching in horror, picks up the thief's discarded gun and fires a bullet directly between Mrs. Dean's eyes.
+That's one of the very few scenes in ""Mrs. Cage"" taking place outside the confines of the police station where she calmly turns herself in. This 70-minute drama, adapted by Nancy Barr from her stage play, is essentially a two-character, single-room exercise, focused on Mrs. Cage's thorough but sensitive interrogation by Lieut. Ruben Angel. The performances of Anne Bancroft and Hector Elizondo allow for no slackening in the necessary tension. The ""American Playhouse"" presentation, directed by Robert Allan Ackerman, is on Channel 13 at 9 tonight.
+Mrs. Cage is a woman in her late 50's who finds herself increasingly isolated while the traditional values she has honored all her life continue to erode. As the wife of a successful criminal lawyer (Stanley Grover), she has been content to be the perfect homemaker, taking pride in her balanced meals and being able to iron shirts beautifully. Now her workaholic husband simply takes her for granted. As a mother, Mrs. Cage discovers in her only child (Amy Morton), a career-driven woman already on her first divorce, a contempt for her mother's accepting subservience.
+Little wonder that Mrs. Cage concocts a flirtatious fantasy around Billy (Jack Noseworthy), the supermarket clerk who smiles warmly and treats her courteously. For the neglected housewife, the young man is winning, open, ardent, a kind of gentleman caller in reserve. When she overhears him singing the theme song from the television series ""Rawhide,"" Mrs. Cage is completely charmed. But Mrs. Dean (Tracy Brooks Swope), whom she only knew from a distance, was something else entirely. She was the type of woman who would brazenly use a parking space reserved for the handicapped and then push herself into the express checkout line with a number of items way over the clearly stated limit.
+Mrs. Cage has lost her identity (it takes quite a while to learn that her first name is Lillian) and she is consumed by rage. She is intelligent and honest. She makes no effort to excuse her crime, and she doesn't even want a lawyer, especially her own husband. What she did was wrong and no doubt evil, Mrs. Cage insists, but ""it certainly wasn't insane."" Mr. Elizondo's carefully probing Lieutenant Angel is disturbed by this woman but not unsympathetic to her. Ms. Bancroft's sharply etched yet delicately shaded performance makes that response understandable as her portrait of Mrs. Cage becomes utterly convincing. What might have been a somewhat mechanical contrivance emerges as a quite compelling drama.  American Playhouse Mrs. Cage  Directed by Robert Allan Ackerman; written by Nancy Barr; director of photography, Bill Pope; editor, Steven Weisberg; costumes by Dona Granata; music by David Mansfield; production designer, David Sackeroff; produced by Dan Lupovitz for ""American Playhouse""; Lindsay Law, Marcia Nasatir and Steven Haft, executive producers. At 9 tonight on Channels 13. Mrs. Cage . . . Anne Bancroft Lieutenant Angel . . . Hector Elizondo Martin Cage . . . Stanley Grover The Detective . . . Steve Hornyack Elizabeth Cage . . . Amy Morton The Thief . . . Tom Noga Billy . . . Jack Noseworthy Phyllis Dean . . . Tracy Brooks Swope"
+True,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,True,True,True,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,True,False,False,False,True,True,False,False,False,True,False,False,False,False,True,False,True,False,True,True,True,True,False,True,True,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,True,True,False,False,False,False,True,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,True,True,False,False,True,False,False,False,True,False,False,False,False,True,False,True,True,True,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; The Historic Challenge to Segregation
+Tracing events that led to the United States Supreme Court's school-desegregation decision in 1954, ""Separate but Equal"" is the kind of film that today is likely to be done only for television. The heart of the story is about fundamental national issues that have to be placed in historical, legal and moral contexts. Crucial information must be digested. No action-adventure pyrotechnics here. These are serious matters and, quite admirably, ""Separate but Equal"" keeps them that way in its deliberately slow, almost stately fashion. The four-hour movie, a ""G.M. Mark of Excellence"" presentation, will be broadast in two segments, Sunday and Monday, on ABC at 9 o'clock.
+Of course, the writer and director George Stevens Jr. knows quite well that an audience has to be wooed and won. Network television is not interested in purely altruistic projects, no matter how worthy. So Mr. Stevens had the good sense to persuade Sidney Poitier to return to television after 35 years and portray Thurgood Marshall, who was chief counsel to the NAACP Legal Defense and Educational Fund, which brought the school segregation challenge to the Supreme Court in the case known as ""Brown v. Board of Education.""
+Mr. Poitier's performance is the film's linchpin. The actor bears no physical resemblance whatsoever to Mr. Marshall, but he powerfully captures the quiet passion of a determined advocate. His Marshall moves cautiously but relentlessly. He is suffused with compassion, whether it be for his colleagues and clients or for his devoted wife (Gloria Foster) who is struggling with cancer. This is an old-fashioned movie portrait of a hero, reminiscent of the days when Paul Muni would make Emile Zola larger than life. Mr. Poitier is simply splendid.
+But it's hardly a one-man show. The support is remarkable across the board. Burt Lancaster is the soul of courtly but tough dignity as John W. Davis, the lawyer for the other side, himself once a candidate for the Presidency. And Richard Kiley is truly superb as Earl Warren, the new Chief Justice, who, being a politician and not a jurist, is expected by many to be little more than the colorless manager of a team of all stars. But it is Warren who, after concluding that the case is a moral issue, sets out to make the court's decision for desegregation unanimous.
+""Separate but Equal"" is a story that could only have come out of the United States. It begins in a rural South Carolina school with black children reciting the Pledge of Allegiance. Tired of seeing his students having to walk five or six miles to school while busloads of white children speed past them, the preacher who also serves as schoolteacher (Ed Hall) asks the local superintendant for a single bus and is told it would be too costly. The preacher decides to draw up a petition, and that attracts the attention of a lawyer in New York named Marshall. What will turn out to be a historic event begins in deceptively modest circumstances.
+There are setbacks, and there are legitimate differences of opinion. Some black leaders strenuously oppose the N.A.A.C.P.'s efforts, arguing that a Supreme Court defeat would set back the black cause for perhaps decades. But in the end, the law of the land recognized what a South Carolina judge had said earlier in a dissenting opinion: ""Segregation can never produce equality. It is an evil that must be eradicated.""
+""Separate but Equal"" intelligently and movingly captures a turning point in the nation's history.  Also of Interest
+""The Sunset Gang"" (Channel 13, tonight at 9). The first episode of this ""American Playhouse"" trilogy -- adapted by Ronald Ribman from stories by Warren Adler -- takes a fierce swipe at the concept of marital loyalty. The scene is the Florida retirement community of Sunset Village. Velvil (Harold Gould) and Genendel (Tresa Hughes) meet at the local Yiddish club and fall in love. The problem is they both have living spouses, remnants of more than 45 years of marriage. And what will the children say? No matter. The elderly lovers decide to, as they used to say in the 60's, do their own thing. Here is still further evidence that the times they really are a-changin'. Separate but Equal Written and directed by George Stevens Jr.; director of photography, Nic Knowland; costumes by Francine Jamison-Tanchuck; music by Carl Davis; production designer, Veronica Hadfield; a New Liberty Production in association with Republic Pictures Television; George Stevens Jr. and Stan Margulies, co-executive producers. Sunday and Monday at 9 P.M. on ABC. Thurgood Marshall . . . Sidney Poitier John W. Davis . . . Burt Lancaster Earl Warren . . . Richard Kiley Robert Carter . . . Cleavon Little Buster Marshall . . . Gloria Foster Gov. James F. Byrnes . . . John McMartin Josiah B. Tulley . . . Graham Beckel The Rev. J. A. DeLaine . . . Ed Hall Alice Stovall . . . Lynne Thigpen W. B. Springer . . . Macon McCalman"
+False,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,True,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,True,False,True,False,True,True,False,False,False,False,False,False,False,False,True,False,False,True,True,True,True,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,True,False,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,True,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,True,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Alzheimer's: The Cruelest Disease
+One in three American families has been struck by Alzheimer's disease. ""Losing It All: The Reality of Alzheimer's Disease,"" tonight's poignant documentary at 10 on HBO, reports on five of those families. Competition among ailments is a no-win game, but this hour makes a painful case that Alzheimer's, which destroys the brain, eroding memory and thinking, and for which there is no cure, ""may be the cruelest disease.""
+The focus is less on the sufferers themselves, the once-alert, effective people who are now, as the narrator says, ""lost in time and space forever,"" than on the wives, husbands and children who are doing their best to look after them. As one woman whose husband's Alzheimer's was diagnosed five years ago says, ""The grief never stops."" Pat Ryan forgets things, gets lost, can't manage to put on his socks without direction. When he decides to play his trombone, he picks up an electric shaver instead.
+There are shattering moments. In a brief intermission of lucidity, Mr. Ryan says: ""I'm worth something."" And then he adds, vaguely, ""But I don't have any way to do it."" His wife and son are attentive and loving, yet when they leave him for two weeks at a veteran's hospital, they cry: ""Freedom!"" In Spokane, Wash., the daughter of a woman who lives in a filthy, cluttered apartment that she refuses to leave, admits she dreads visiting her mother and ""having to watch her mind die.""
+Scrapbooks give viewers glimpses of Mr. Ryan and others as they were in happier days, hugging wives and husbands, playing with their children. ""My dad died five or six years ago,"" one young man says as he cries over the old pictures of the father who now forgets what he is doing while he is doing it. His wife pleads, ""You're leaving me and I don't want you to go.""
+Two of the patients tonight are sister and brother. The father, too, had Alzheimer's. As the woman lies dying, the brother, who perhaps blessedly is too far gone to see his own future, sits comforting her. His son and her daughter talk about whether, given their heritage, either dare marry and have children.
+About a third of Alzheimer's patients live at home and depend entirely on their families. ""Losing It All,"" produced, written and directed by Michael Mierendorf and narrated by Princess Yasmin Aga Khan, who lost her mother, Rita Hayworth, to the disease, is a compassionate look both at people clinging ""to the barest threads of who they once were"" and the loved and loving ones who are sacrificing their own lives in a hopeless struggle to help them. A 79-year-old man whose wife needs total care says: ""I was raised you look after your wife. It doesn't matter whether it's good times or bad times.""
+The season's Emmy for shamelessness goes to ""Never Say Goodbye,"" tonight's soft-focus treatment of the sad case of Kimberly Bergalis at 9 on Channel 5. Ms. Bergalis, as the nation knows, is the young woman who is dying of AIDS apparently contracted from a dentist who has since died of it. The producer, Mary Hughes, who interviewed Ms. Bergalis for a ""Current Affair"" last year, now turns that show's sensibility to the issue of testing doctors and dentists, and barring those infected with AIDS from performing invasive surgical procedures without the patient's written consent.
+Ms. Bergalis has been much seen on television news and talk programs, arguing for mandatory disclosure. The sight of the 70-pound woman giving a Congressional committee what may have been her last public plea a few weeks ago could not fail to move viewers, and everyone could understand her anger and that of her parents. But to use the emotions aroused by this one case to rally support for a law that would affect many thousands of people and cost many millions of dollars can arouse anger of another sort.
+As spokesmen for medical organizations on tonight's program note, there is no evidence that any health-care professional besides Ms. Bergalis's dentist has passed on the infection. But the sort of reasoned discussion demanded by so far-reaching a proposal as mandatory disclosure is not encouraged by an hour devoted mainly to exploiting the last days of a dying woman.  Losing It All The Reality of Alzheimer's Disease  Produced, written and directed by Michael Mierendorf. At 10 tonight on HBO."
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+Television families, from the Cleavers to the Kramdens to the Conners, have been much kidded and commended over the years, but questions remain. To what extent do they reflect reality? To what extent have some reflected an ideal that few American homes have matched? What is their influence, if any? Such matters, raised anew by Vice President Dan Quayle's attentions to ""Murphy Brown,"" are treated in ""Through the Looking Glass: Television and the Family,"" a brisk hourlong documentary that resolves none of the questions but touches the concerns behind them.
+Once again, sitcoms of the 1950's, like ""Ozzie and Harriet"" and ""Father Knows Best,"" are mocked as ""squeaky-clean, picture-perfect"" visions of America. The reminders of these all-white, middle-class, sub urban households, with two parents, backyards, cars and the passing follies of adolescence that were always resolved in a half-hour minus commercials, are put in context by the host, Jim Jensen. They were made obsolete in the 1960's by demographic changes and by transformations in the nation's attitudes toward race and sex. Clips from the mild old shows seem as dated as the non-Japanese automobiles in their driveways.
+Mr. Jensen reasonably gives credit to ""All in the Family"" for breaking the mold by presenting an untidy household dominated by a bigot, where matters like crime, poverty, discrimination, abortion and other social ills took turns as the issue of the week. With the advent of concoctions like ""The Simpsons"" and ""Married With Children,"" he says, ""the family as heaven"" moved toward ""the family as hell."" But to judge by series like ""The Wonder Years"" and ""Brooklyn Bridge,"" nostalgia evidently lingers for more innocent, possibly more wholesome times.
+Young fans admit to being addicted (""Everything I learned about sex is from TV,"" one girl says), but they seem to take their favorites merely as shows and do not load as much significance on them as professors of communications and television reviewers, with their vested interest, are inclined to do. Mr. Jensen, apparently grasping for some sort of big-idea punch line, concludes vapidly, ""We watch them to discover we are not alone.""
+Producers and writers of current hits like ""Life Goes On"" seem earnest, if a touch self-serving, but they acknowledge that their fates depend on ratings. Some things never change. Through the Looking Glass Television and the Family  Channel 2, tonight at 8. Holly Wertheimer and Elizabeth Karl, editors; Bonnie Dry, co-producer; David Turecamo, senior producer, for the WCBS-TV Broadcasting Department; Dolores Danska, executive producer; Jim Jensen, host."
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+The researchers who tracked down the great old black-and-white newsreels that give context and texture to ""De Gaulle and France"" deserve a medal or two. Effectively juxtaposed with reminiscences of surviving players, they make for an absorbing account of the operatic career of a man who always defied easy analysis.
+Alone among the other giants who bestrode the first half of the 20th century -- Roosevelt, Churchill, Hitler, Stalin -- Charles de Gaulle bore the colors of a vanquished people. He personified a national glory that was all in the past, or perhaps only in his mind.
+""A Vision of France,"" the opening section of tonight's three-hour documentary, recalls his emergence as a leader in 1940, after France's collapse before the German onslaught. If ever there was a hero created for a desperate hour, de Gaulle was it. When, in his broadcasts to his demoralized countrymen from exile in London, he proclaimed, ""I am France,"" it seemed more than hyperbole. Who else could have made so puffed-up a claim sound plausible? He is shown tonight as a hard-headed romantic, an inspiring leader and exasperating ally, an oddly archaic figure even at his times of triumph.
+His greatest hour, of course, resoundingly evoked by the pictures of his Free French soldiers re-entering Paris in August 1944, was the victory over Hitler and the Vichy collaborators. But sixteen months later, he abruptly resigned as President of the provisional postwar Government. The documentary's second hour, ""Return of the General,"" captures the drama of his summons to power again during France's anguish over the Algerian war.
+While avoiding the tangles of psychology, the straightforward narrative leaves the impression that de Gaulle was not comfortable in the role of democratic politician, particularly in so fractious a democracy as France. He was most himself when he could assume the mantle of savior. During the years when he was reshaping the French political structure -- dealt with in the final hour, ""Challenging the World"" -- he was suspected by opponents, not without cause, as having inclinations or pretensions to being a monarch rather than a mere president.
+His final resignation in 1968 after the student-led riots that seemed to be tearing the country apart was an acknowledgment that history, which in his grandest hours he had seen himself as representing, had swept past him. Yet although de Gaulle's concept of la gloire had long been outdated, two decades after his death in 1970, his vision of a united Europe seems much less far-fetched than it did when he was among the first to advance it. De Gaulle and France  PBS, tonight at 8 (Channel 13 in New York). Produced by WGBH Boston and LMK Images, France; Sue Williams, Tom Weidlinger and Christina von Braun, segment producers; Mr. Weidlinger, senior producer; Judith Vecchione and Yves Eudes, executive producers."
+False,False,False,False,False,True,True,False,True,False,True,True,True,True,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,False,True,False,False,True,False,True,True,False,False,False,False,True,True,False,True,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; No Stone Unturned In Special on Gems
+""Splendid Stones,"" tonight's National Geographic documentary, catches some of the grubbiness as well as the glitter of the mining, making and marketing of gems. Scheduled at 10 on Channel 13, amid the week's fund-raising gabble, it is a small sparkler in a tin setting.
+The hourlong tour does not dig deep, but its range is wide: Perfectly formed cultured pearls are farmed in Japan, fertilized with mussel shells from Tennessee; emeralds for millionaires are still being plucked by the destitute from the riverbeds of Colombia; synthetic rubies manufactured in southern California are almost identical to the real ones that seem to be running out in Thailand; an American jeweler visits London 10 times a year to do a bit of discreet bargaining with a diamond salesman from South Africa.
+The occasionally effusive script, written by Irwin Rosten, offers some catchy asides. Did you know, for example, that rubies were once thought to reduce flatulence, and emeralds to cure constipation? Or that 250 tons of ore must be moved to obtain a one-carat polished diamond or that 75 percent of Japanese brides today wear diamond engagement rings?
+The liveliest scenes are of traders making deals for uncut gems; every time one changes hands, the narrator, Richard Kiley, reports, the price doubles. After a bit of routine background on the development of De Beers Consolidated Mines, the South African firm that virtually controls the world supply of diamonds (yes, they are the folks behind those soft-focus commercials, ""A Diamond Is Forever""), the program takes the viewer to New York City's jewelry center, where in up-to-date surroundings, dealers do their Old World hondling: ""Twenty-two hundred a carat."" ""Fifteen."" ""No, I couldn't take fifteen."" Every deal is concluded with a handshake and an exchange of ""Mazeltov and a brucha."" (""Good luck and blessing."")
+Early in the hour, you see gem prospectors sloshing in the mud of a river in the Andes and selling their finds to dealers for cash on the spot; toward the end, an actress models a multi-million dollar necklace for the camera. It's enough to make one reflect upon the creation of wealth, the nature of beauty, the power of fashion. And in case the flashes of light and color from the jewels glamorously photographed here should leave you feeling a little deprived, take comfort from the experience of the Shah of Iran, Mohammed Riza Pahlevi; his crown, with its 3,000 diamonds, is now used to back the currency of the state from which he was expelled. National Geographic Special Splendid Stones  Written and produced by Irwin Rosten; Teresa Koenig, co-producer; Barry Nye, editor; music by Jay Chattaway; Tim T. Kelly and Thomas Skinner, executive producers; Richard Kiley, narrator. Thursday, at 8 P.M. on Channel 50 and at 10 P.M. on Channel 13."
+False,False,False,False,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,True,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,True,False,False,True,True,False,True,False,True,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,True,False,False,False,True,False,True,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,False,True,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Dr. Kildare? Well, No. But a Human Face.
+It's not as if television entertainment has turned its back completely on doctors and hospitals. There's Dr. Huxtable in ""The Cosby Show"" on NBC and there's the wisecracking gang on ""Nurses,"" also on NBC. Over on ABC, Doogie Howser, M.D. does see patients between bouts of teen-age angst. But where are the serious dramas about medicine, the kind that became television staples, dating back to the days of ""Dr. Kildare"" and ""Ben Casey""? Is the form still trying to recover from the cheeky irreverence of ""St. Elsewhere""? Perhaps.
+But the producers Dick Wolf (""Law and Order"" and ""Mann and Machine,"" both on NBC) and William Sackheim (the movie ""Pacific Heights"") are betting that the time for a comeback is upon us and are putting their money, for better or worse, on ""The Human Factor,"" which has its premiere on CBS at 10 tonight. Created by John Mankiewicz, the new series revolves around a Chicago teaching hospital.
+At the very center is a class taught by Dr. Alec McMurtry, who emphasizes ""the emotional part of the relationship between doctor and patient."" The doctor tells his students, ""I think it's the most important part of your education."" Fortunately, McMurtry is played by John Mahoney, an exceptionally fine actor who can make dim lines like that sound positively illuminating.
+McMurtry works closely with about 10 student doctors, watching them in action at the hospital and doing critiques of them in daily conferences. ""As a class,"" he grumps, ""you have about as much sensitivity as George Steinbrenner."" In terms of billing and plot prominence, of course, some students are more promising than others. On the supersensitive side, there is Matt Robbin (Kurt Deutsch) who tonight finds that his first patient, dying of Hodgkin's disease, is a young woman he had a crush on in high school. Then, for a streetwise edge, there's Joe Murphy (Matthew Ryan), who in a future episode will fight to save a boxer intent on ignoring signs of Parkinson's disease.
+But there's the problem: These and other diseases have already been overexposed every which way in hospital shows. In real life, they are tragically devastating; in television entertainment, they evoke a sense of numbing familiarity. ""The Human Factor"" seems aware of this quandary, and efforts are occasionally made to strike out in new directions. In a future episode, for instance, one student decides to sell her eggs to a fertility clinic and has to confront unexpected questions and emotions.
+By far the most highly charged sequence in the first few episodes is generated by Dr. Finnola Keefe (Wendie Malick), a brilliant diagnostician and fierce misanthrope. When she is discovered in a thoroughly compromising position with young Matt in a hospital closet, the brazen Finnola the Frigid, as she's known, ends up being dismissed. In turn, she files a sex-discrimination suit, claiming that ""just because I'm not Miss Congeniality, they're trying to ruin me."" Attempting to help Finnola, innocent Matt argues that he was there, too. ""Just barely,"" she sneers, adding that she might be forced to ""tell the world about -- how shall I put it? -- your shortcomings."" Finnola is nasty but not dull. The hospital should get her back.
+Eager to come up with something different, ""The Human Factor"" too often seems only uncertain. McMurtry's relationship with his wife, Joan, a writer of romance novels, is dragged in periodically and, for the most part, pointlessly. Characters spotted in the opening credits have been absent from the three episodes I've seen so far. Complicated issues are sometimes resolved far too easily. (Lawyers eager either to file or to avoid suits are the villains in this series.) And yet viewers are likely to get the feeling that, given half a chance, Mr. Mahoney could pull it all together single-handedly. He just looks like that kind of guy. The Human Factor  Created and written by John Mankiewicz; Don Scardino, director; Arthur W. Forney, associate producer; Dan Sackheim, producer; Mr. Mankiewicz, co-executive producer; William Sackheim and Dick Wolf, executive producers. A Universal Television Production. Thursdays at 10 P.M. on CBS. Dr. Alec McMurtry . . . John Mahoney Joan McMurtry . . . Jan Lucas Matt Robbin . . . Kurt Deutsch Rebecca Travis . . . Melinda McGraw Joe Murphy . . . Matthew Ryan Michael Stoven . . . Eriq LaSalle Betsy Wood . . . Trini Alvarado"
+False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,True,True,True,False,True,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Sherlock Holmes Solves A Two-Ended Mystery
+Returning to ""Mystery"" in five new hourlong cases, Jeremy Brett has become television's quintessential Sherlock Holmes. These latest episodes bring to a total of 34 hours since 1984 the Granada Television productions that star Mr. Brett as Sir Arthur Conan Doyle's fictional detective. One curious development: the more the actor painstakingly refines and enriches his portrayal, the more he tends to suggest in his increasingly chilly cerebrations the interpretation of another actor closely associated with the role, Basil Rathbone. Even if unintentional, the effect is perfectly on target.
+In these new additions to ""The Casebook of Sherlock Holmes,"" England has turned the century, shifting from a Victorian to an Edwardian mode. Holmes, however, remains remarkably resistant to change. He still lives at 221-B Baker Street, tended to by Mrs. Hudson (Rosalie Williams), the unflappable housekeeper, and assisted in his amateur sleuthing by the steady Dr. Watson (Edward Hardwicke). For important errands, he employs the local young men known as the Baker Street Irregulars because, he explains, ""they are more discreet than any telegraph.""
+Tonight's story, on Channels 13 and 21 at 9, is ""The Illustrious Client,"" which has, as Diana Rigg informs us, a mystery at both ends. There is the case to be solved, of course, but in this instance Holmes doesn't even know the identity of the man who is hiring him. The courier is the aristocratic Sir James Damery (David Langton), who is worried that the notorious Baron Gruner (Anthony Valentine), an Austrian murderer, is seducing a British heiress named Violet (Abigail Cruttenden) into marrying him. Violet is the rather impressionable daughter of a respected general. ""Your problem,"" snaps Holmes, pausing dramatically, ""interests me.""
+Gruner is a diabolically clever opponent, easily on a level with Professor Moriarty. He has laid bare his entire past to Violet, including accusations that he killed his wife, but in such a way that she is thoroughly convinced he is a misunderstood victim. Holmes may be a brilliant literary creation but Conan Doyle's plots sometimes get snarled in unlikely contrivances. Even after meeting one of Gruner's former girlfriends, badly disfigured by the Baron with oil of vitriol, Violet's faith in the monster remains unshaken. The supposed reason is quaintly Victorian. The poor girl, it seems, is not in her senses; she is, quite literally, madly in love and completely in his grasp.
+But the fun, as usual, is in watching Holmes move into action. In a meeting with the Baron, his contempt is bottomless as he reminds the nasty Austrian that in respectable society ""you remove the band from a cigar before lighting it; otherwise you'll be put down for a bounder."" The Holmes plan to entrap the Baron involves a scheme to appeal to his passion for collecting, a scheme that requires Watson to spend 24 hours devouring books that will make him an expert on Chinese pottery. As always, Watson does what he's told with enviable competence.
+There is a resolution of sorts, and the identity of the ""illustrious client"" is revealed with appropriate decorum. Holmes triumphs once again. Equally to the point, so does Mr. Brett. Mystery The Casebook of Sherlock Holmes: 'The Illustrious Client'  Directed by Tim Sullivan; adapted by Robin Chapman; produced by Michael Cox for Granada Television; Diana Rigg, host. At 9 tonight on Channels 13, 21 and 49. WITH: Jeremy Brett, Edward Hardwicke, David Langton, Anthony Valentine, Abigail Cruttenden and Rosalie Williams."
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+If ""60 Minutes,"" ""Nightline"" and ""The MacNeil/Lehrer Newshour"" can publicly celebrate their anniversaries, why not ""The 10 O'Clock News""? Television rivals the Pentagon for bursts of self-admiration, and tonight at 9 on Channel 5, the nightly news program that has been serving or exploiting the New York area for 25 years spends an hour pinning medals on itself. ""25 on 5,"" narrated by John Roland and Cora-Ann Mihalik, the anchors of the newscast, is an inexpensive piece of promotion, made up mostly of old clips.
+The producers of ""The 10 O'Clock News"" -- probably most famous for bringing show-business personalities and hopefuls on to declare: ""It's 10 P.M. Do you know where your children are?"" -- take credit for putting forth an ""intense,"" ""gritty,"" ""in-your-face"" newscast that challenged the establishment or even waged guerrilla war on it.
+Some of the reporters, like Bill McCreary, Bob O'Brien and Pablo Guzman, did provide a rough-and-ready look that was noticeably different from the blow-dries at the major networks. The Channel Fivers seemed to grow more naturally from the streets of New York and today all the local channels have real-looking reporters.
+In most ways, however, ""The 10 O'Clock News"" has played the game at a lowish level. The program has more than its share of ambulance chases and personality chases. There is also the lick-lipping and tongue-clucking over deaths by accident or, preferably, by design. There are the quick switches from catastrophe to inanity and the relentless human interest, especially about children. And the stuff is delivered at a frenetic pace, as evidenced tonight in flurries of five-second takes.
+""We always go after the big stories,"" somebody says. And there, to define a big local-news story, are pictures of Joel Steinberg and Hedda Nussbaum, principals in a notorious case of child abuse.
+Tabloid journalism, of which ""The 10 O'Clock News"" is an unashamed video practitioner, has a mixed and by no means entirely dishonorable history. Newspaper tabloids, energetic and sassy, talked to the little guy with irreverence soaked in sentimentality. They introduced generations of new Americans to the workings of City Hall and to the comics. From there, it could be hoped, citizens might move up to classier examples of a free press.
+That does not seem to be happening any longer. Reading is not in, and even the least-demanding newspapers seem to strain the attention of the video generation. Television being a world in itself, the tube tabloids prepare their audiences for nothing more demanding than made-for-television movies.
+So forgive me, ""10 O'Clock News,"" if I can't join in the happy birthdays. My reaction is more in the spirit of the New Yorker who is seen fleetingly tonight in the background of a street report, mooning the camera. 25 on 5 The 10 O'Clock News  Written by David Spencer; Vincent T. Russo, associate producer and editor; Danica Nedela, producer; Marie Hickey, executive producer; John Roland and Cora-Ann Mihalik, hosts. A production of Fox 5 News/WNYW. Tonight at 9 P.M. on Channel 5."
+True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,True,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,True,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,True,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,True,False,False,True,True,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,True,False,True,False,False,True,False,False,True,False,True,False,True,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; And Now, a Real Courtroom Series
+With ""Verdict"" at 8 tonight, CBS becomes the first network to turn cameras in the courtroom into a prime-time series. Many outside the television industry who supported the fight to crack the courtroom barrier saw it as an opportunity to open up the workings of the law; skeptics predicted that victory would bring just a new batch of real-crime shows that would clobber the finer points of law with the blunt instruments of murder and mayhem. The first half-hour of ""Verdict"" lends support to the skeptics but offers glimmers to the hopeful.
+Tonight's program -- ""No actors, no scripts, no re-enactments!"" an authoritative off-camera voice declares -- focuses on murder and sex, that irresistible prime-time combination. The defendant is a professional con man whose specialty was lovelorn women. ""He stole widows' hearts,"" says Richard Schlesinger, the evening's reporter, ""and then he stole their money."" As ""Verdict"" begins, Raymond Harry Stone, already serving a 14-year sentence for fraud, is on trial for the murder of Anita Dalfuss, an acquaintance whose remains were found in a wooded area near San Diego.
+Mr. Schlesinger's reporting is punchy. He presents a quick sketch of the defendant's technique through the recollections of several women who loved and lost (the interview with Mr. Stone himself reveals none of the charm they found in him), and presses both prosecutor and public defender on apparent weaknesses in their cases. The prosecution is not able to produce any evidence on how the woman died; the defense has to convince the jury that although Mr. Stone is a criminal, he is not a violent criminal.
+Attention throughout is less on the judicial system than on the defendant and his victims. Still, the story is smartly told by the same people who bring you ""48 Hours,"" and courtroom tactics are illuminated along the way. An interesting issue, debated at the bench, has to do with the defense attorney's assertion to the jury that there is no evidence that her client is violent, his possible implication in another murder not having been allowed into evidence.
+Human interest rather than legal procedure is also emphasized in a future episode, the manslaughter trial of a Vietnam veteran who contends that he is suffering from post-traumatic stress disorder as a result of his experience in Vietnam. ""My head was empty,"" he keeps saying. Expert witnesses disagree on whether the condition caused him to shoot a man five times. The opportunity to discuss the role of expert witnesses in criminal trials gives way to standard interviews with the defendant's wife and the murdered man's mother.
+Next week brings a sharp portrait of a Florida woman accused of drugging a widow and stealing her money. Other coming attractions: a father who is charged with responsibility for his 10-year-old son's accidental shooting of a friend and a reputed drug dealer charged with ordering the murder of an anti-drug crusader. If future cases are laid out as efficiently as tonight's and next week's, they should keep people watching. Whether ""Verdict"" will use its access to the courtroom to do more than that is not yet clear to this juror. CNN Specials Today and Sunday
+Two of CNN's welcome expansions of its round-the-clock news are on view this weekend. Today at 10 A.M. and 10 P.M., the cable channel presents a one-hour special on famine in Africa, the culmination of a week of grim reports from Ethiopia, Somalia, Mozambique and Malawi. And on Sunday at 9 P.M. comes ""The Nuclear Graveyard,"" a half-hour look at the technical and political obstacles to Washington's efforts to find a place to bury 100,000 tons of radioactive waste. The feeling of people in towns near proposed sites is summed up by a sign: ""Hell, no, we won't glow!"" '20/20'  ABC Tonight at 10
+Tonight's edition of ""20/20"" carries a report on Albania's legacy of a half-century of isolation and repression. While tens of thousands of Albanians have fled to Italy, where they are making do in camps, millions remain trapped in what a relief worker calls a man-made disaster. Food is scarce (one woman tells of having to stand in line at 3 A.M. to buy powdered milk); work is hard (women are seen plowing fields by hand); the political situation is unsettled. It's a timely program: Secretary of State James A. Baker 3d begins his first visit to Albania today. Verdict Produced by CBS News; Andrew Heyward and Al Briganti, executive producers."
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+""Stolen Babies,"" tonight's movie at 9 on Lifetime, has a practically fail-safe ""inspired by actual events"" plot. Powerfully connected pillars of a Tennessee community in the 1940's are running an illegal adoption ring, listing among their customers such Hollywood celebrities as Joan Crawford and Dick Powell. The story is obviously explosive. But this version prefers to take the standard television route of milking the sentimentally obvious for all it's worth. Nevertheless, a cluster of fine performances is very much worth catching.
+Lea Thompson (""Back to the Future"") plays Annie Beales, who returns to Tennessee in 1945 from the University of Chicago to begin a career as a social worker. Kathleen Quinlan is Bekka Stern, the wealthy socialite who will introduce Annie to all the right people in Memphis. One of them turns out to be Georgia Tann, a prim, somewhat icy but charismatic woman who runs the Tennessee Children's Home Society. She is portrayed to a chilling fare-thee-well by none other than Mary Tyler Moore, taking another giant step away from the sunny Mary Richards, who is right up there with Mary Pickford when it comes to America's sweethearts.
+Settling into her new job, Annie keeps coming across parents, all of them poor and powerless, who have had their children taken away by court decree. She soon realizes that Georgia, working in cahoots with a local judge, is stealing and selling babies with impunity. One of her customers, unaware of any illegalities, is Rebecca. Confronted with Annie's suspicions, Georgia simply decides to destroy the social worker who threatens a lifestyle that includes secret tippling, a chauffeured Rolls-Royce and gambling jaunts to Cuba.
+Sharon Elizabeth Doyle's script is partial to sensational details. Some of the babies peddled by Georgia were born to women in the local insane asylum. The fact that many of these women were deceived and abused is undeniable. But the other side of the story, the fact that some of these children would indeed be better off with other parents, is played down. That argument is put into the mouths of Georgia and the other villains.
+Directed by Eric Laneuville, who once played the friendly orderly on ""St. Elsewhere,"" ""Stolen Babies"" never gets much beyond pushing all of the expected buttons. But fine performances by the Misses Moore, Thompson and Quinlan manage to make the exercise seem almost special. Stolen Babies  Lifetime, tonight at 9. Directed by Eric Laneuville; written by Sharon Elizabeth Doyle; director of photography, Paul Murphy; editor, Karen Stern; costumes by Kirsten Everberg; music by Mason Daring; production designer, Guy Barnes; produced by Ann Kindberg for ABC Video Enterprises in association with Sander/Moses Productions; Ian Sander, Kim Moses and J. Moses, executive producers. Annie Beales . . . Lea Thompson Georgia Tann . . . Mary Tyler Moore Bekka Stern . . . Kathleen Quinlan Judge Camille Kelley . . . Mary Nell Santacroce Robert Taylor . . . Brett Rice Bascom Stern . . . Tom Nowicki Mary Wester . . . Jenny Krochmal Jasper Bell . . . Judson Vaughn Jimmie Wester . . . Kenny Jones Clarisse Bell . . . Clarinda Ross"
+False,False,True,False,True,False,True,False,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,True,True,False,True,False,False,True,False,False,False,False,False,False,True,False,True,True,True,True,False,False,False,False,True,True,False,False,False,False,True,False,True,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,True,False,True,True,True,True,False,False,False,False,True,False,True,False,False,False,True,True,False,True,True,False,False,False,False,False,True,True,False,True,False,False,False,False,True,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,True,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,True,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; The Unwanted Children of Romania
+Whatever the sins of television, again and again it has brought the youngest victims of nature's caprices and men's cruelties out of obscurity and into millions of homes and hearts. In just the last few weeks, painful pictures from Somalia and Bosnia have moved the world to action or at least gestures. ""Lost and Found: The Story of Romania's Forgotten Children,"" tonight's deeply felt documentary at 10:30 on Channel 13, about Romania's orphans, should awaken compassion for their suffering, too.
+The children seen here, dirty, frightened, ill, wasting away in institutions for so-called irrecoverables, are a legacy of the rule of Nicolae Ceausescu, the dictator who was driven from office and executed in 1989. For almost two decades, the Communist State encouraged its people to have children. Birth control and abortion were outlawed; families with fewer than five children were penalized.
+The policy, in a country where much of the population exists in poverty, resulted in scores of thousands of babies being given away to state orphanages by parents who simply could not afford to keep them. At the age of 3, those deemed healthy are sent off for schooling and may be taught a trade. The others -- the sickly, the handicapped, the emotionally disturbed, the difficult ones -- are committed to childhoods of neglect. Tonight's program reports that there are now 120,000 of these irrecoverables. The narrator says, ""The children who need the most are given the least.""
+The camera finds them in warehouses around the country. Many seem frightened and withdrawn; some rock vacantly, some are bruised, some tethered to their beds. Left to the care of uneducated, untrained, overworked women -- one of whom is seen breaking down in exhaustion or exasperation or just pity -- the children pass the days and years sitting in crowded rooms. They are almost naked, fed on 26 cents a day a child, bathed in filthy water and shoved around. Children of 10 or 11, who have been confined to cribs for the whole of their young lives, look like 3 year olds.
+Volunteers from the United States, seen trying to help with clothing, toys and affection, are overwhelmed by the conditions. One says that most of the children do not understand the meaning of the word ""friend."" Some of the children are seen responding to gentleness and affection, but only a handful are receiving any sort of help. The childhoods of the other tens of thousands are indeed irrecoverable. Maybe this unsparing documentary will increase the chances of at least a few Lost and Found The Story of Romania's Forgotten Children  PBS, tonight at 10:30 (Channel 13 in New York) Written, produced and directed by Joshua Seftel for Joshua Seftel Film and Video Productions; music by David Grimes; Marc Heijdeman, associate producer; Robert J. Lurtsema, narrator."
+False,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,True,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,True,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,False,True,True,False,False,False,False,True,False,True,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; The Age of AIDS vs. the Age of Immortality
+CBS's ""Schoolbreak Special"" series, the more or less monthly dramas aimed at young audiences, opens a new season this afternoon at 4 with ""Dedicated to the One I Love.""The subject is AIDS, an understanding of which is now being widely recognized as crucial for teen-agers. One problem is getting the message across to a population segment that tends to feel immortal and pretty much immune to life-threatening issues.
+This latest effort tries, quite successfully, to be neither manipulative nor hysterical. In fact, AIDS complications don't surface until halfway through the 50-minute story. It begins with the death in a car accident of a high-school student named Ron (Joey Sciacca). Amy (Lisa Dean Ryan) is devastated. Ron had been her boyfriend, although they had broken up about a year ago. She and several others would like to dedicate the yearbook to Ron's memory. But some students object, pointing out that he had become a heavy drug user.
+Later, meeting Ron's mother (Georgeann Johnson) for lunch, Amy learns that, two weeks before his death, Ron had a blood test and proved HIV positive. The mother says it had something to do with ""sharing dirty needles -- at least, that's what they told me."" Distraught, and initially too ashamed to tell her parents, Amy confides in a school friend (Patrick Malone) who, pointing out that ""it's a disease, not a crime,"" persuades her to go for her own blood test.
+The seriousness of the subject is not played down, but ""Dedicated to the One I Love"" carefully avoids total despair. Those who test positive are informed by special counselors that ""we have drugs today that really slow down the process -- people are buying time."" Joseph Maurer, the writer, has explained that the idea for the story emerged from a chance meeting in Los Angeles with ""a remarkable young woman, now in her early 20's,"" who was infected while in high school. For Mr. Maurer, she was ""a potent reminder that AIDS and HIV infection can strike anywhere and anyone.""
+The point is made vividly through the fictional Amy, portrayed affectingly by Ms. Ryan, perhaps best known as Wanda, the girlfriend of Doogie Howser, M.D. And it is a point bearing frequent repetition. One statistic from Washington's Center for Population Options: more than a fifth of the people with AIDS are in their 20's. Because the latency period between HIV infection and the onset of symptoms is about 10 years, most of these people probably became infected in their teens.
+Television programs for young audiences are not likely to find a more pressing subject these days. Schoolbreak Special Dedicated to the One I Love Directed by Bradley D. Wigor; written by Joseph H. Maurer; director of photography, Jack Whitman; editor, Jerry Eisenberg; production designer, Nanette Vanderbuilt; produced by Dale White for Helios Productions; Mr. Maurer and Mr. Wigor, executive producers. Today at 4 P.M. on CBS.  Amy Miller . . . Lisa Dean Ryan  Evelyn Somerville . . . Georgeann Johnson  Mike Harris . . . Patrick Malone  Ron Somerville . . . Joey Sciacca"
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+""G-Men,"" tonight's slice of ""The American Experience,"" at 9 on Channels 13 and 49, investigates the creation of the crime-busting reputation of the Federal Bureau of Investigation and J. Edgar Hoover, its head for nearly half a century. The reputation, which is not the same as the reality, has Mr. Hoover's fingerprints all over it.
+This unflattering hour traces the F.B.I.'s ascendance to Hoover's ""public-relations genius"" for turning the post-World War I Red scares and the explosion of crime during Prohibition to personal and institutional aggrandizement. The fact that the pudgy career bureaucrat looked nothing like the model agent portrayed in the material he planted in comic books, as the photographs here attest, makes his celebrity the more remarkable.
+Tonight's case study in hype brings back the newsreels and bits of old movies that starred the heroic G-man. (There's James Cagney out-toughing bad Barton MacLane.) It tells of scores of magazine articles (many of them signed by Hoover but written by an industrious pro named Courtney Ryley Cooper) that idealized the F.B.I. and its director. In the narrator's words, ""Mythology replaced history.""
+Observers of Hoover's career, including reporters, historians and former agents, agree that he ran a tight, even uptight, agency. He is allowed credit for building the F.B.I. into a professional operation, but at the price of thoroughgoing conformity. The scenes of assembled agents in the 1930's looks like a convention of department store trainees. One former G-man says, ""I didn't wear a blue shirt till after Hoover died.""
+Image was the thing, and Hoover guarded his jealously. The account of the career of Melvin Purvis, who was in charge of the office in Chicago when John Dillinger was killed there, is revealing. Purvis's son tells how ""the man who got Dillinger"" was considered a rival by his boss and was pushed out of the F.B.I.
+Hoover found enemies everywhere. He permitted men he considered friends access to F.B.I. files; others were barred. (In the interest of full disclosure, I confess that I made the Hoover enemies list in the 1950's. It did not take much, just a mildly critical magazine article, but with the help of the Freedom of Information Act, I later discovered that Hoover had scrawled instructions to his press office to ""Give Goodman nothing."")
+Much more seriously, Hoover reportedly let it be known to members of Congress and other officials that his files contained material about their private activities, a tactic that is generally credited with keeping up appropriations for the F.B.I. Walter Trohan, who covered the bureau for The Chicago Tribune, says, ""Mr. Hoover was not above polite blackmailing."" Tonight's program does not reach the period of F.B.I. surveillance of the Rev. Dr. Martin Luther King Jr. and others in the civil rights and peace movements, about the same time that ""The F.B.I.,"" a popular and adulatory series that bore the agency's seal of approval, hit the tube.
+Toward the end of this sometimes heavy-handed yet cautionary hour, Hoover is seen attacking the ""scoundrels who would destroy Americanism"" in a speech to Boy Scouts at the 1939 World's Fair. If there is a lesson here, it is to beware of public figures who come bearing an Americanism shaped to their own narrow specifications. The American Experience G-Men: The Rise of J. Edgar Hoover Produced, directed and written by Irv Drasnin; Janis Ruden, associate producer; Peter Odabashian, editor; Dena Katzen and Sheila Moloney, assistant editors; principal photography by Tom Spain; additional photography by Richard Lerner, Ned Johnston and Kurt Zell; Margaret Drain, senior producer; Judy Crichton, executive producer. At 9 tonight on Channels 13 and 49."
+True,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,True,False,False,False,False,True,True,True,False,True,True,False,True,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,True,True,True,False,False,False,False,False,True,False,False,False,False,False,False,True,True,True,True,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,False,True,False,True,False,False,False,True,False,True,False,False,True,False,False,False,True,False,True,True,False,True,False,False,True,False,True,False,True,False,False,False,False,True,False,True,True,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,True,True,False,False,True,False,True,True,True,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; For Young Audiences, Reality in the Afternoon
+In the Reagan-Bush era of deregulation, one of the more memorable, and notorious, sociopolitical observations came out of the Federal Communications Commission, from a commissioner who insisted that television was just another household appliance, much like a toaster. Why then burden poor broadcasters with perhaps inhibiting notions of responsibility?
+A definitive sign that things are changing under the Clinton Administration was last week's F.C.C. announcement that broadcasters could no longer count programs like ""The Flintstones"" and ""The Jetsons"" as ""educational and informational"" programming. That sound emanating from television executive suites across the country is one communal ""Gulp!""
+At issue is a 1990 law requiring broadcasters to show at least a minimal commitment to the educational needs of their young viewers, a commitment that would be seriously considered in the renewal of their licenses every five years. That law, the Children's Television Act, was hailed as a programming milestone. Unfortunately, its provisions are dreadfully vague, allowing some broadcasters to meet the educational-value demands by citing shows like ""G.I. Joe"" and ""Leave It to Beaver.""
+Well, what's a poor broadcaster to do? Just what kind of program would be considered educational and informational? Getting beyond the hand-wringing, there's really no secret to the formula. Public television has had no problem, except for chronic financing difficulties, in acquiring quality programming for young audiences, from ""Mister Rogers' Neighborhood"" and ""Sesame Street"" to ""Shining Time Station"" and ""Mathnet."" And commercial broadcasters, on cable as well as the networks, obviously know the difference between fluff and substance.
+Case in point: those periodic afternoon specials that the networks aim specifically at young audiences. This week, for instance, there's the ""CBS Schoolbreak Special"" called ""Big Boys Don't Cry."" Exploring the subject of sexual abuse, Betty Birney's script focuses on Tony Walters (Jason Wiles), a young athlete whose behavior suddenly turns erratic as he tries to repress and conceal childhood molestations by his popular Uncle Paul (Robert Pine), who lives next door with his wife and young daughter.
+Tony's problem deepens when he realizes that his kid brother, Andy (Miko Hughes), is the current object of the uncle's obsessive intentions. Like many of these specials, ""Big Boys Don't Cry"" is somewhat oversimplified and occasionally even corny as it wends its way toward an inevitably uplifting conclusion. But it does deal with real and pressing issues. It is not just another episode of ""The Flintstones,"" which, incidentally, is one of the more male-chauvinist exercises ever devised for a cartoon format.
+And then in television programming there is that fast-disappearing genre known as family entertainment, shows that can be watched by parents and children together. Advertisers seemingly prefer to keep them apart as targeted audience segments. One of television's more successful family shows, ""Avonlea,"" returns tonight at 8 for a fourth season on the Disney Channel.
+The setting for short stories by Lucy Maud Montgomery, Avonlea is a small town on Prince Edward Island in Canada. The period series, produced by Sullivan Films, began with a four-hour mini-series based on Montgomery's ""Anne of Green Gables."" Now the series follows the adventures of the King family and friends. Tonight's ""Tug of War"" episode, a sometimes silly and overly cute caper, has the eccentric Dale family, advocates of vegetarianism and acupuncture, unexpectedly visiting their relative Jasper Dale (R. H. Thomson), now married to the former Olivia King (Mag Ruffman).
+Pregnant and close to delivery deadline, Olivia is torn between defending her husband and his odd family and pacifying the stern and persnickety King brood, especially Hetty (Jackie Burroughs), the very disapproving schoolmarm. Life styles clash, misunderstandings abound and, finally, a baby is born, an occasion that does wonders for resolving petty disputes. Some of the acting is wobbly, especially among the younger cast members, but some is superb, most notably Ms. Burroughs's. The message of tolerance and openness does get through clearly. Winner of innumerable international awards, ""Avonlea"" is the highest-rated series on the Disney Channel. With good reason.
+Any broadcaster still puzzled as to what constitutes an educational and informational program is hereby urged to tune in.
+CBS Schoolbreak Special Big Boys Don't Cry  CBS, Tuesday at 4 P.M. (Channel 2 in New York) Directed by Jim Becket; written by Betty Birney; produced by Richard David for Churchill Entertainment; Nicky Noxon, executive producer. Tony Walters . . . Jason Wiles Uncle Paul . . . Robert Pine Andy Walters . . . Miko Hughes Tony's girlfriend . . . Renee Humphrey"
+False,False,False,False,True,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,False,True,True,False,False,True,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,True,True,False,True,False,False,False,False,True,True,False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Reviews/Television; 3 Pioneers of the Wilderness Ethic
+This week brings offerings from three popular PBS series. None are at the top of their class, but all have their inviting aspects.
+""Wild by Law,"" tonight's contribution from ""The American Experience,"" at 9 on Channels 13 and 49, tells how the Wilderness Act of 1964, which made Washington the official protector of America's vast yet shrinking wilderness areas, came to be.
+The hour focuses on three men: Aldo Leopold, an Easterner with a love of the West, whose popular books about a ""land ethic"" spread the message of conservation and who is credited or blamed for bringing the word ecology into standard usage; William Marshall, a Yale-educated millionaire socialist, who in 1935 founded the Wilderness Society, the first organization with the mission of saving what he called ""the freedom of wilderness,"" and Howard Zahniser, a sometime civil servant, who spent almost 20 years lobbying for Federal legislation.
+The hour, which taps historians and environmentalists along with the children of Leopold and Zahniser, provides a look at a corner of American history that will be fresh to most viewers. It ends with the sensible caution that despite the achievement represented by the Wilderness Act, battles over development show no prospect of ending. A Bit of the Brogue
+At 8 tonight, Channel 13 carries ""A Day in the Life of Ireland"" as part of its ""Travels"" series. The day is May 17, 1991, when 75 photographers from 15 countries participated in a 24-hour shoot, a promotional stunt. It is always a pleasure to see the country's scenery and hear a bit of the brogue, and the scenes of schoolchildren and horse trainers, a wedding and a First Communion, a lighthouse keeper and a flying priest and so on are appreciatively handled, but the hour might have been richer if the focus had remained on the land, unobstructed by pictures of people taking pictures. Wildlife Victims of War
+Tomorrow at 8 on Channels 13 and 49 and at 9 on Channel 21 ""Nova"" reports on the damage done to wildlife in the Persian Gulf in last year's war. ""Saddam's War on Wildlife"" pays tribute to the efforts of John Walsh, of the World Society for the Protection of Animals, to save birds, sea turtles and other victims of the big oil spills. In a depressing postscript Mr. Walsh finds that few of the animals in the Kuwait City zoo survived the Iraqi occupation. His work is assuredly worthy, but the program has as much trouble flying as the oil-soaked birds."
+False,False,False,False,False,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,True,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,True,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,True,True,True,False,True,True,True,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"Review/Television; Are Pit Bulls All Bad? And How About Romance Novelists?
+Is the bite of a pit bull worse than the bark of a romance novelist? The question is inspired by tonight's quirky double bill at 10:30 on Channel 13, the week's offering from ""P.O.V."" (""Point of View""), public broadcasting's outlet for independent producers.
+The opening documentary, ""A Little Vicious,"" tells the story of a five-year-old terrier named Bandit, a relative of the pit bull, a species that has earned or been invested with a bad name for aggressiveness. Bandit first got into trouble when he chased and bit a neighbor, and then got into real trouble when he sank his teeth into the arm of his loving owner, a 75-year-old named Lamon Redd, who had made the mistake of beating him for a minor indiscretion.
+Under pressure from the authorities, Bandit was given over for correction to Vicki Hearne, a Connecticut dog trainer and founder of the American Pit Bull Terrier Defense Association and Literary Society. In Ms. Hearne's view, the species' reputation for viciousness is mere literary dogma, drawn from fairy tales and gothic fiction. But in punishing Bandit, observes the narrator, Kevin Bacon, society showed no interest in poetic justice. The producer, Immy Humes, does not sink his teeth into Ms. Hearne's juicier proposition that the dispute reflects America's class and racial hostilities. Most pit bulls, she says, belong to poor blacks, and the outcry against them comes from middle-class whites. The camera is drawn instead to her training methods; she is seen encouraging Bandit with echoes of Molly Bloom's dog-eared soliloquy: ""Yes. Yes. Yes. Yes."" Bandit plainly responds to higher things; he easily performs the chores set by the American Temperament Testing Association, described as a canine behavior service group.
+Perhaps it is the influence of Ms. Hearne, but the sad ending, which you will have to tune in to learn, gives this offbeat documentary a literary quality.
+So much for literature. The second of tonight's works, ""Where the Heart Roams,"" is George Csicsery's bemused look at the hype surrounding the romance novels that, it is reported here, occupy 20 million readers with 120 new titles every month. Barbara Cartland, the doyenne of the industry, who churns out a score or more of them every year all by herself, appears in her usual finery to lament the shift in literary fashion from love to lust. You will also meet lesser known romancers and aspiring ones, merchandisers of lines with names like Candlelight Ecstasy Romances and groupies.
+Mr. Csicsery wisely allows his subjects to speak for themselves. A novice is seen asking an editor for the guidelines she ought follow for success. A nonselling writer blames her characters, who have a way of taking over and messing up the formula. At a workshop, a male practitioner (who uses a pseudonym) lectures on how to handle a kiss (describe the ""texture"" and tell what the man's hands are doing, above the waist, while his lips are occupied). Much attention is given to a trainload of writers and their fans traveling from California to a Romantic Booklovers Conference in New York.
+It's enough to build respect for the romance between Lamon Redd and Bandit.
+Correction:  August 3, 1991, Saturday
+A television review on Tuesday about ""A Little Vicious,"" a documentary shown in the PBS series ""P.O.V.,"" referred incorrectly to the film maker, Immy Humes. She is a woman."
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+South Africa's three pre-eminent political figures are honored tonight by the attentions of David Frost. You may not learn much that is new from the encounters, but it is an opportunity to catch their election-year styles, along with the style of the recently dubbed Sir David himself.
+Mr. Frost is most businesslike in his opening conversation with the Zulu chief Mangosuthu Gatsha Buthelezi, leader of the Inkatha Freedom Party, whose members have been involved in bloody encounters with supporters of Nelson Mandela and his African National Congress. The longtime rivals blame each another for their failure of communication. Mr. Frost, like an imperial emissary to feuding tribesmen, advises, ""The sooner the two of you get together, the better.""
+One issue has to do with arrangements for the South African economy. In this election season, Mr. Mandela says that his organization has always advocated free enterprise, that it has moved away from its advocacy of nationalization of certain industries and that its Communist Party allies will be only a tiny minority of its election list.
+President F. W. de Klerk uses most of his time to deliver a stump speech on his desire for consensus, unity, stability, peace and economic growth, from which neither Mr. Buthelezi nor Mr. Mandela dissents.
+Like other interviewers faced with the estimable Mr. Mandela, who is given the most time tonight, Mr. Frost adopts a Barbara Walters mode: ""And when was there a moment when you decided this was going to be your whole life, fighting for a free South Africa?""
+Mr. Mandela reminisces, fairly interestingly, about his years of imprisonment and says he would be willing to serve in any capacity under an elected Government. ""What a very interesting and generous offer,"" Mr. Frost allows, and ends the talk by assuring Mr. Mandela that his wish to be remembered as a ""man who has done his duty on earth"" will be granted. Being knighted evidently confers powers over history. 'The Un-Americans'
+A&E, tonight at 8
+The unedifying history of America's crackdown on Communists and so-called security risks is told tonight from the point of view of some of the scores of people who were jailed and the thousands who lost their jobs between the late 1940's and the early 60's. Some say they were victims of mistaken identity or political vendettas; the admitted Communists say they were idealists who were guilty, at worst, of being stupid about Stalin. Admire them or not, very few had committed anything resembling a crime.
+As an early reference to ""vigilantes and victims"" suggests, the two-hour treatment is in accord with a rote leftist mythology that portrays Communists as radicals with a human face and leaves out the many anti-Communist liberals and conservatives who fought the rampages of Senator Joseph R. McCarthy and the House Committee on Un-American Activities. Nonetheless, the newsreels of the time are reminders of the poisonous spirit that infected the land.
+The cruel crookedness of it all is personified in a concluding interview with Harvey J. Matusow, an admitted con artist who made a career first as an ex-Communist informer and then as an exposer of the informer racket and finally as a stand-up comedian.  'Here's Looking at You, Warner Brothers'
+TNT, tomorrow at 8 P.M.
+This two-hour celebration of the studio that Jack, Harry, Sam and Albert Warner built tells little about movie making in what is accurately enough known as Hollywood's golden age, but anyone with a weakness for icons in action should get their money's worth. The puffy anecdotal narration by Clint Eastwood, Barbra Streisand and others serves mainly to link star turns, from Rin-Tin-Tin's to Robert Redford's.
+Sure, you've seen most of these big moments from the big years of the big studio before (although John Barrymore as Captain Ahab was new to me), but so what? There's Edward G. Robinson expiring with the line ""Mother of mercy, is this the end of Rico?"" and Paul Muni fading into a black night with ""I steal."" There's Bugs Bunny slipping out of tight scrapes and Errol Flynn (""All right, my hearties, follow me!"") battling out of them. There's Ruby Keeler in Busby Berkeley mosaics. There's James Cagney pushing women around and Bette Davis kicking men around. There's Humphrey Bogart turning tough toward Mary Astor, going soft over Ingrid Bergman and being provoked by Lauren Bacall. And, as they say, much more.
+You can also see or tape several of the scenes in context this weekend, as TNT will be showing, mostly in the early morning hours, ""The Jazz Singer,"" ""The Sea Hawk,"" ""The Public Enemy,"" ""I Am a Fugitive From a Chain Gang,"" ""The Big Sleep,"" ""Key Largo,"" ""Destination Tokyo"" and ""Now, Voyager,"" in which, yes, Paul Henreid lights that cigarette for Bette Davis. Talking With  David Frost  PBS, tonight at 9 (Channel 13 in New York). A series produced by Wallace Westfeldt for David Paradine Television and WETA/Washington; coordinating producer, Robert Muller; John M. Florescu and David Frost, executive producers."
+False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,True,True,True,False,True,True,False,False,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; A Belgian Detective With a Muted Approach
+Georges Simenon's Chief Inspector Maigret comes to ""Mystery"" tonight at 9 on Channel 13, joining a gallery of sleuths that includes Sherlock Holmes, Hercule Poirot and Inspector Morse. With Michael Gambon (""The Singing Detective"") in the title role, ""Maigret"" will offer six adaptations from the 84 novels -- 500 million copies sold worldwide -- that Simenon devoted to his detective.
+Simenon, who was born in Belgium in 1903, wrote his first Maigret story in 1929, even then making it quite clear that he was more interested in character than in drama. Maigret enters the mind of the criminal, often sympathetically, trying to understand and not necessarily judge. One famous Simenon observation: ""Don't forget that the policeman was often born in the same street as the criminal, had the same sort of childhood, stole sweets from the same shop."" He added: ""Deep down the policeman understands the criminal because he could so easily have become one.""
+Maigret's most prominent prop is a pipe, and, like any other self-respecting pipe-smoker, he tends to be ponderous. Unlike Poirot, also a Belgian, the serious, almost dour Maigret is not allowed fanciful speculations about ""little gray cells."" And unlike Holmes, he has no Watson-like foil to play against. Maigret does have a devoted wife (Ciaran Madden), who fusses over his cassoulets, and a staff of underlings at police headquarters, but for the most part he proceeds alone through his intellectual puzzles.
+This, alas, presents a formidable problem for Maigret dramatizations. And at least the first couple of installments in the current series indicate that a solution is yet to be found. With Budapest as a stand-in for Paris during World War II, the period details ring true, but the adaptations, somewhat like the books, seem to be unfolding in a cork-lined room in which all sounds of life are muted, if not deadened. Curiously, it's as if the war didn't exist. (Actually, Simenon's refusal to write about the war led later to unjustified accusations of collaboration.)
+Much depends, then, on the specific cases, on the persuasiveness of the characters and the skill of the performances. ""Maigret Sets a Trap,"" about a serial killer, begins the series on a promising note. Next week's ""Maigret and the Mad Woman,"" with a list of suspects that includes a Marseilles gangster, is unsatisfactory enough to push ""Maigret"" back to square one. The always intelligent Mr. Gambon does try to enliven the Chief Inspector with touches of humor, but they are so subtle as to be almost invisible. If he's going to survive on television, Maigret has to turn downright bold. Mystery Maigret Sets a Trap  PBS, tonight at 9. (Channel 13 in New York.) Directed by John Glenister; written by Douglas Livingstone, based on a story by Georges Simenon; produced by Jonathan Alwyn for Granada Television; Sally Head and Arthur Weingarten, executive producers. Chief Inspector Maigret . . . Michael Gambon Madame Maigret . . . Ciaran Madden Sergeant Lucas . . . Geoffrey Hutchings Inspector Janvier . . . Jack Galloway Inspector Lapointe . . . James Larkin Monsieur Corneliau . . . John Moffatt Moers . . . Christian Rodska"
+False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Review/Television; Road Wars: The Carjacking Reality
+It's crime-of-the-month time on ""48 Hours."" Tonight's report, ""Steal That Car,"" chases down perps in Newark, San Diego, Houston, Wilmington, N.C., and St. Petersburg, Fla.
+In Newark, the much advertised problem is joy-riding youths, some not yet in their teens, who perform what are known on the streets as doughnuts and crazy eights in other people's cars. The camera catches their movements, to sometimes confusing effect, from the windows of police cars, whose drivers are under orders not to give overly hot pursuit, for fear that the youngsters will blithely run down any pedestrians in the way. Interviews with a few of the blank-faced youths leave one with a feeling of despair for them as well as for car owners.
+Elsewhere, the fashion is car-jacking -- taking a vehicle and sometimes its owners at gunpoint -- because, as a jacker explains, that is less trouble than breaking in. This pastime makes the joy-riding in Newark seem benign. People have been killed, not for resisting but just for not getting out of their cars fast enough.
+A Houston family tells of their horrific experience: the wife was raped repeatedly in their speeding van while her husband and 9-year-old daughter were held at gunpoint. One of the three men convicted says, ""Once you see how easy it is, you just keep on doing it.""
+The jumpy program also offers some analysis of security devices. The conclusion: put no faith in mere alarms or gadgets that freeze the steering wheel. They are child's play for the children involved.
+To deter these technicians, who can break into a car and start the engine within seconds, you need an elaborate security system. Probably the talented thieves will in time crack it as well. Imagine the benefits they could bring to the economy if they found productive lines of work. 48 Hours Steal That Car  CBS, tonight at 10 (Channel 2 in New York). Produced by Rand Morrison for CBS News; Andrew Heyward, executive producer; Dan Rather, anchor. WITH: Bernard Goldberg, Phil Jones, Erin Moriarty and Richard Schlesinger, correspondents."
+False,False,False,False,True,True,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,True,False,False,False,True,False,True,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,True,True,True,True,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,"TV Weekend; Norman Lear's Comedy On Life in Washington
+Washington certainly deserves a few good satirical pokes these days. The targets are everywhere, ranging from loonily optimistic economic forecasts to shabby personal scandals, not to mention international vomiting incidents. Yet prime-time television has been curiously hesitant about zinging politics and politicians. For the most part, refreshingly nasty humor is relegated to late-night formats like NBC's ""Saturday Night Live.""
+Things could be changing with this weekend's premiere -- on NBC tomorrow at 8:30 P.M. -- of ""The Powers That Be,"" a new series from Norman Lear's Act III Television workshop. The show, created by Marta Kauffman and David Crane, is in the off-the-wall mode of humor that worked so well for Susan Harris's ""Soap"" some 15 years ago. It may very well be the only mode that can do Washington full justice.
+The very first routine, before the opening credits, sets the tone. Faith Daniels of the ""Today"" show is reporting a major election upset in the Northeast with the defeat of William Powers, ending his 26-year career as a Senator on Capitol Hill. His wife has left him. Children spit at him on the street. Then the good Senator wakes from his nightmare, turning for comfort to the woman sleeping next to him.
+She: You're as moral as any man in this town.
+He: Oh hell, I've got to call my wife.
+Bill Powers is played by a relaxed and bemused John Forsythe, who seems thoroughly relieved to put his ""Dynasty"" days behind him. At home, Bill presides over what looks like the picture-perfect political family. That's only on the surface, of course. His relentlessly overbearing wife, Margaret (Holland Taylor), spends a great deal of time battering her cowed maid, Charlotte (Elizabeth Berridge) for perceived infractions.  (""I found this lint ball on one of the guest towels,"" or, ""Charlotte, dear, I believe I saw a thumb print on the etagere."") At a quick glance, Margaret might be easily mistaken for a recent First Lady notoriously partial to red dresses.
+Bill's whining daughter, Caitlyn (Valerie Mahaffey), is anorexic, insisting that she's still just a size 3. Her miserable husband, Theodore (David Pierce), a Congressman, is suicidal and keeps trying to hide his wrist bandages. Their young son, Pierce (Joseph Gordon-Levitt), kept around for photo opportunities, tries desperately not to look embarrassed. On the professional sidelines are Jordan Miller (Eve Gordon), Bill's administrative assistant and sometime bed partner, and Bradley Grist (Peter MacNichol), the press secretary who, pondering a suggestion to ignore the polls, gasps that ""it's so crazy, it might work!""
+Into this tweedy pit of schemers and scoundrels comes Sophie Lipkin (Robin Bartlett). Not only is she Jewish, which sets Margaret on edge, but she is also Bill's daughter, a love child from a liaison with a nurse during the Korean War. Loud and breezily vulgar, Sophie sends most of the inner circle into a state of shock, but Bill soon comes to appreciate her blunt honesty. Meanwhile, Margaret prepares to welcome into her home members of the press, all of whom she heartily despises. ""Why,"" she asks, ""would I serve cold roast turkey to people who would happily eat a sock on rye if it were free?""
+The scattershot approach of ""The Powers That Be"" has its dangers. Some of the barbs are tasteless, if not downright offensive. That's part of outrageousness territory. But the basic mix is promising, and the producers clearly have a bead on the more absurd aspects of contemporary politics. Being just crazy enough, it might work.  Capitol Critters  ABC Saturdays at 8 P.M.
+As it happens, another series that is supposed to be tweaking Washington is also broadcast on Saturdays, at 8 P.M. on ABC (except this weekend when a repeat of ""The Young Indiana Jones Chronicles"" television pilot has pre-empted the series). The animated show, ""Capitol Critters,"" produced at Hanna-Barbera Studios, comes out of Steven Bochco Productions. The Bochco name has figured prominently in such top series as ""Hill Street Blues,"" ""L.A. Law"" and, most recently, ""Civil Wars."" Question: What is he doing involved with a dud like ""Capitol Critters""?
+An assortment of mice, rats and roaches living beneath the White House is evidently supposed to be telling us something about life in Washington these days. Instead, they seem bent on doing second-rate imitations of the old ""Tom and Jerry"" cartoons. The producers have described the series as ""potentially illuminating."" Not in this century, boys and girls. The Powers That Be  A comedy series created by Marta Kauffman and David Crane; produced by Patricia Fass Palmer for Act III Television, Castle Rock Entertainment and Columbia Pictures Television; Norman Lear, Charlotte Brown and Mark E. Pollack, executive producers. Saturdays at 8:30 P.M. on NBC. William Powers . . . John Forsythe Margaret Powers . . . Holland Taylor Jordan Miller . . . Eve Gordon Bradley Grist . . . Peter MacNicol Sophie Lipkin . . . Robin Bartlett Caitlyn . . . Valerie Mahaffey Theodore . . . Davie Pierce Pierce . . . Joseph Gordon-Levitt Charlotte . . . Elizabeth Berridge"
+False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,True,False,True,True,True,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,False,True,True,False,False,True,True,True,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,False,True,True,False,False,True,True,False,False,False,False,True,True,True,False,False,False,False,True,False,True,False,False,True,False,False,False,False,True,True,False,True,False,False,True,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,True,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,"Review/Television; Aristide as a Hero of Haiti's Downtrodden
+Over the centuries, the Haitian people have known more than their share of misery. ""Haiti: Killing the Dream"" covers the most recent event, the military coup a year ago that sent the Rev. Jean-Bertrand Aristide, the country's first democratically elected President, into exile.
+Father Aristide, a young Roman Catholic priest who was influenced by the liberation theology movement, began gathering support among the poorest of his country's mostly poor and illiterate people after the overthrow of the unlamented Duvalier dictatorship. By tonight's account, his plans to take from the rich and give to the poor angered the country's elite, which joined with Army commanders and a bought Parliament to bring him down. The camera does not fail to contrast the fancy villas of a few with the shacks of the many.
+""Haiti: Killing the Dream,"" which the narrator, Ossie Davis, calls insipidly ""the saga of a priest who became President,"" follows the line set forth by the Haiti Commission for Inquiry Into the Sept. 30 Coup d'Etat, a long title for a few Americans assembled and led by Ramsey Clark, the sometime Attorney General and longtime critic of American foreign policy. Its conclusions are in accord with his predilections. Father Aristide, seen rallying supporters before the coup and in an interview afterward, is treated as a hero of the people, and the United States is criticized for being behind the coup or at least tolerating it.
+Mr. Clark and Noam Chomsky are recurrent presences in this hour. Mr. Chomsky, the professor of linguistics at the Massachusetts Institute of Technology who is known for his tough language about Washington, accuses American business interests of seeking to restore the wealthy class to power in Haiti to keep a supply of cheap labor.
+Father Aristide's supporters who are now on the run also express certainty that Washington did it. ""With the pieces of information I have,"" says one, ""I am absolutely certain that the coup has been engineered by the American Embassy."" Few pieces of information are advanced to support the speculation, which is denied by a State Department official. In programs like this, the denials are never presented quite as forcefully as the charges.
+But you don't have to accept all the premises of this well-made, if tendentious, documentary to sympathize with Father Aristide, who is to speak to the United Nations tomorrow afternoon. Whatever his failings (if he has any, they are not elaborated on here), he seems to have represented some hope to a beaten-down people.
+And Washington's refusal of sanctuary to Haitians fleeing the current dictatorship may trouble even Americans who do not take the Clark-Chomsky conspiratorial line. Even if the Immigration and Naturalization Service position that most of the boat people are seeking economic improvement rather than political freedom has some truth, it is difficult to avoid the suspicion, voiced by Mr. Davis, that the fact that the refugees are black has more than a little to do with the way they have been treated. Haiti Killing the Dream  PBS, tonight at 9. (Channel 13 in New York)  A Growing Rooster Production, presented by Jonathan Demme, Edward Saxon and Harry Belafonte; Hart Perry, producer and director of photography; Marc Levin, creative consultant and senior editor; Babeth and Rudi Stern, co-producers; Babeth, Katharine Kean and Rudi Stern, executive producers."
+False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,True,True,True,True,False,False,False,True,False,True,False,False,True,True,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,True,False,True,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,True,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"TV Weekend; Friends Who Are Odd (Good Thing They're Rich)
+""Masterpiece Theater"" seems determined this season to grab every veteran actor in England for a dazzling twirl or two across the tube.
+Last week, John Gielgud, Wendy Hiller and Patrick McGoohan endowed ""The Best of Friends"" with a shrewd elegance born of experience. Sunday, on Channel 13 at 9 P.M., the youngest cast members in an adaptation of Muriel Spark's novel ""Memento Mori"" are Maggie Smith, in her late 50's, and Zoe Wanamaker, in her early 40's. The rest are probably, give or take a couple of years, octogenarians, each and every one a wicked scene-stealer.
+The time is the mid-1950's. A group of elderly friends, affluent and decidedly odd, begin getting anonymous phone calls with the single message, ""Remember, you must die."" In Latin, that's ""memento mori."" There is, of course, great consternation. Godfrey Colston (Michael Hordern) already has enough problems tending to his delicate wife, Charmian (Renee Asherson), who, distressed about her beloved companion, Taylor (Thora Hird), being sent to a dreary old-age institution, seems to be drifting into senility.
+Godfrey's sister, Dame Lettie (Stephanie Cole), persuades him to employ Mrs. Pettigrew (Miss Smith) as a new companion for Charmian. Mrs. Pettigrew turns out to be a nasty bit of baggage. Concerned about Charmian, Taylor gets an old friend and retired police inspector, Henry Mortimer (John Wood), to begin investigating the mysterious phone calls and Mrs. Pettigrew.
+Among the other major characters: Percy Mannering (Cyril Cusack), a prickly poet; Guy Leet (Maurice Denham), a critic who will never be allowed to forget that he once dismissed Mannering as ""a quite competent versifier""; Olive Mannering (Miss Wanamaker), Percy's niece, adept at showing a bit of thigh to oldsters like Godfrey and Guy; and Eric Colston, the gay son of Godfrey and Charmian, and a total bounder.
+Mix well and you have a coruscatingly witty social portrait that somehow manages to be never less than affectionate. Mr. Hordern is a wonderfully lecherous old dog. Miss Smith's Mrs. Pettigrew, a scheming parvenu, drips venom gloriously (""Whenever I allow myself to be nice to the servants, I always end up regretting it""). Under the sometimes merciless eye of the camera, the entire cast reveals the foibles and failings of old age with a combination of gallant charm and what host Alistair Cooke pinpoints as ""almost indecent zest.""  'In the Line of Duty:' 'Street Wars'  NBC, Sunday at 9 P.M.
+As NBC's fifth ""In the Line of Duty"" movie about police officers, this one goes to Brooklyn to explore one especially violent part of the contemporary urban landscape: neglected housing projects, drugs and a world littered with empty crack vials and spent pistol casings.
+The fact-based story stars Mario Van Peebles and Michael Boatman as Housing Authority police officers. One is killed by a drug dealer; the other goes out for revenge. Heading the official police investigation are Ray Sharkey and Peter Boyle.
+""Street Wars"" was postponed last May; the reason given by the network was a need ""to be sensitive to particular programming themes."" Actually, the movie tackles, candidly and forcefully, some of the root causes of urban unrest. A tough script by T. S. Cook (""China Syndrome"") and powerful performances by all concerned, including Courtney Vance and Morris Chestnut, clearly aim to leave you rattled. They will. 'Masterpiece Theater' 'Memento Mori'  PBS, Sunday at 9 P.M. (Channel 13 in New York) Directed by Jack Clayton; written by Alan Kelley, Jeannie Simms and Jack Clayton, based on a novel by Muriel Spark; director of photography, Remi Adefarsin; produced by Louis Marks for BBC; Mark Shivas, executive producer; Rebecca Eaton, executive producer for ""Masterpiece Theater."" Mrs. Mabel Pettigrew . . . Maggie Smith Godfrey Colston . . . Michael Hordern Charmian Colston . . . Renee Asherson Dame Lettie Colston . . . Stephanie Cole Olive Mannering . . . Zoe Wanamaker Jean Taylor . . . Thora Hird Guy Leet . . . Maurice Denham Percy Mannering . . . Cyril Cusack Ex-Inspector Henry Mortimer . . . John Wood Eric Colston . . . Peter Eyre Mrs. Mortimer . . . Anna Cropper"
+False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Studying Philanthropy, and Doling Out Real Cash
+Emily Katz has $10,000 to spend and, not surprisingly, she cannot wait to spend it.
+But Ms. Katz, 19, is not thinking of spending it on herself or a loved one. She and seven classmates at Colgate University, a small liberal arts college here in central New York, are taking a new seminar in philanthropy, learning how foundations operate and studying ways to give money to people in need.
+'Rather than helping someone out for the day, we get to really look at the root of the problem,' she said.
+Many universities offer courses in philanthropy, but Colgate's is unusual because in early May, at the end of the school year, the students will award $10,000 to nonprofit organizations of their choice, after researching worthy recipients. Only a few such courses nationwide give students the opportunity to give away real money.
+'We're helping students learn the business of philanthropy,' said Ellen Percy Kraly, the professor who teaches the course.
+The seminar is financed by the Brennan Family Foundation of Ohio, which has ties to the university through Jay Brennan, a family member who graduated in 1981. Earlier this year, the foundation donated $50,000 for five years of classes, with each group of students getting $10,000 a year to give away.
+The seminar is not offered for credit, Dr. Kraly said, because it was put together quickly over the summer after the college received the Brennan grant. She expects that credit will be offered in the future.
+Part of the goal of the course, she said, is to help the local community, especially because the Colgate campus is an affluent enclave -- where tuition, board and expenses cost about $45,000 a year -- surrounded by a rural, economically depressed region. Dr. Kraly, a geography professor, is also director of the Upstate Institute, a research center of the college whose mission, according to its Web site, is to 'create linkages between Colgate University and the regional community.'
+Although the class cannot award money to an individual, it plans to choose an organization small enough so that future classes can study how the money was spent and what it achieved.
+'We're not going to donate money to a huge corporation where it doesn't make a difference,' said Widad Echahly, 19.
+Philanthropy courses that enable students to give away real money are also offered at Davidson College in North Carolina, the University of Virginia, Cornell and the University of Mary Washington in Fredericksburg, Va.
+'There are very few like it around the country,' said Robert S. Rycroft, a professor of economics who oversees the class at Mary Washington.
+Dr. Rycroft said his program and the ones at Davidson, Virginia and Cornell were sponsored by the Sunshine Lady Foundation, which is run by Doris Buffett, the sister of Warren E. Buffett, who recently made a $31 billion gift to the Bill and Melinda Gates Foundation. Last year, his students, who receive credit for the course, awarded $10,000 to a battered women's shelter and a boys and girls club. This year's class chose nonprofit groups that make home repairs for low-income families and tutor economically disadvantaged children.
+'It couldn't have been more successful,' Dr. Rycroft said. 'There's been a lot of interest from the community and it's generated tons of favorable publicity.'
+Recently, he received calls from three other colleges, all hoping for a philanthropy program. 'I suspect other schools will encourage alumni to make contributions so they can follow suit,' Dr. Rycroft said.
+Students drawn to this kind of course are not necessarily planning on becoming the next billionaire entrepreneur, he and Dr. Kraly said. Rather, they are already drawn to service professions.
+Ms. Katz is a pre-med student who is thinking about joining an organization like Doctors Without Borders. Ms. Echahly has already built a lengthy résumé with internships at several large nonprofit groups like the American Red Cross; she hopes to work for the homeless.
+'I think I can see people who want to make a difference in the world,' Dr. Kraly said of the class.
+Students have spent the first half of the course learning how foundations work. At a recent class, they were just beginning to think about their group as a mini-foundation, weighing, among other topics, how the public would react to their project.
+In an area with great need, 'I think it's hard to justify the money going to the arts,' said Cassandra Galante, 19.
+Later, the group worried aloud about making the right choice.
+'Basically, where are we going to get the biggest bang for the buck,' said Conley Stout, 20. 'And where can we have the most impact right now?'
+Dr. Kraly urged the group to consider the 'landscape of need' as part of their coursework. 'When I think about the bigger picture, it's overwhelming,' Ms. Katz said. 'But we're going to take it one step at a time.'"
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+The Fordham Manor Reformed Church in the Kingsbridge section of the Bronx received a spring cleaning last week from volunteers from two Michigan colleges and an Iowa church. The congregation, which is now largely Hispanic, dates to 1696, when it was Dutch Reformed. The First Reformed Church of Orange City sent 19 volunteers to the 1941 church, while 30 more came from Michigan State University and Grand Valley State University in Grand Rapids. The Dutch left a long time ago, said the Rev. Irving Rivera, 'but the Dutch have come back this week.'
+Correction:  March 19, 2000, Sunday  A picture caption last Sunday about student volunteers from Michigan and Iowa who helped clean the Fordham Manor Reformed Church in the Bronx misstated the year it was built. It dates from 1940, not 1941. The article also referred incorrectly to the Kingsbridge neighborhood at that time. It was already heavily settled; it had been many years since the area was farmland."
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+Lucille first noticed that her husband, Sonny, was slipping when he wrote checks. He would fill in the amount on the line for the date, and vice versa. But he did not want her to see him do it. And he denied that anything was wrong.
+Bill collectors called, complaining that checks were late or unsigned. Then Sonny started to confuse the days of the week and had trouble telling time. Lucille, who agreed to an interview on the condition that her last name not be used, took him to a doctor more than a year ago, where she first heard the word 'Alzheimer's.'
+Not only did she have to cope with her husband's failing health on top of ordinary household responsibilities, but she also had to do it while exhausted. Caring for her husband has occupied her around the clock. Because Alzheimer's is a degenerative brain disease that leads to dementia, many patients confuse day and night, and experts say sleep deprivation among those who care for the ill is one of the leading reasons that patients are institutionalized.
+'He walks a lot at night and I don't get much sleep,' Lucille said of her husband. 'He'd get up in the middle of the night and put his clothes on. The last year's been pretty rough. I'm so tired. I need a break.'
+Now she gets one, two or three times a week, when she sends her husband to an unusual program introduced in June at the Hebrew Home for the Aged in the Riverdale section of the Bronx.
+The program, Elderserve at Night, is just like the center's daytime program, offering horticulture, art and music therapy, games and puzzles, walking groups and meals. But it takes place overnight, from 7 P.M. to 7 A.M., Wednesdays through Sundays. The Alzheimer's Association, a national nonprofit group based in Chicago, says it knows of no other program like it in the country.
+Lucille, 69, enrolled Sonny in the day program at the Hebrew Home last year. A daughter, their only child, lives in Central Islip, on Long Island, and helps when she can. A grandson used to take Sonny for the weekends, until his condition grew worse and the grandson could not handle Sonny on his own.
+'It's all fallen in my lap,' she said during an interview in her scrupulously neat Bronx home, her 80-year-old husband sitting in a chair across the room, oblivious to the conversation. 'I have to take care of everything, he's so turned around now.'
+Daniel A. Reingold, executive vice president of the Hebrew Home, which serves about 1,000 clients, said Elderserve at Night was conceived with people like Sonny and Lucille in mind. 'We have 400 people in the home who are in various stages of dementia,' he said during an interview in his office. 'We sat around this table and asked, 'What's the next program we feel this population needs?' '
+Carol Lewis, director of Elderserve at Night, said the night program fills a need that other Alzheimer's care providers should notice.
+Patients 'get agitated if you try to force them to sleep,' said Mrs. Lewis, who has worked with Alzheimer's patients for almost 20 years. During an interview at the home about 2 A.M., Mrs. Lewis was nothing if not perky. 'I felt that people were demeaning this population. They're not crazy, they're not weirdos. They have special needs and we are here to provide for those needs.'
+The cost, $75 per night, is covered by Medicaid for patients who qualify for long-term home health care. No reservations are necessary and it can serve up to 25 clients a night.
+On a recent warm summer night, 11 clients were enrolled in the night program. Around 1 A.M., three of them were sleeping, and three others were listening to Dan Manjovi, a music consultant, as he played the piano and sang a medley of pop tunes. Two were walking the halls and three were repotting wandering Jews in Jo Ann Stern's horticulture therapy workshop while Sarah Vaughan's voice floated out of a portable cassette player.
+Horticulture therapy benefits Alzheimer's patients in a number of ways, Ms. Stern said, including lowering blood pressure, stimulating the senses of smell and touch, giving patients a sense of control over their lives, and aiding in memory.
+'Sometimes they can't remember their children's names but they can remember their mother's garden,' Ms. Stern said as she packed up plants for her clients to take home.
+Mr. Manjovi believes that music triggers vivid memories in Alzheimer's patients.
+'Music is a very powerful tool for people who are memory-impaired. They remember where they were the first time they heard Al Jolson, they might remember seeing Frank Sinatra at the Paramount.'
+Earlier that very day, Mr. Manjovi said, a woman who had stopped talking and was using a wheelchair became animated when he mentioned Kate Smith. 'I played 'God Bless America' and she sang the whole thing and she hadn't spoken for weeks. When I finished she said, 'That was beautiful.' '
+Care providers say the need for programs like Elderserve at Night will grow as people live longer. About four million Americans have the disease, according to the Alzheimer's Association. The number of Alzheimer's patients is expected to grow to 14 million nationwide by 2050 -- anywhere from 1 in 20 to 1 in 30 Americans -- if a cure is not found.
+The program has been a godsend for Lucille. 'I know I don't have to jump up at night because there's nobody here but me,' she said.
+Sonny, who worked most of his life in New York's garment district, first as a hat maker and later as a shipping clerk, thinks of the Hebrew Home as his workplace. Lucille laughs when she repeats what Sonny told her after returning home one day: 'He said to me, 'They're working me pretty hard up there, but I don't think I'm going to get paid.' '
+Though she can't have a conversation or reminisce with Sonny, after 40 years of marriage she can't imagine life without him.
+'I think if you put him in a home, he'd be gone,' Lucille said. 'This is his home here. It would hurt me in my heart if I had to do that.'"
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+There wasn't much to do where I grew up, out in Minnesota dairy country. A mini-mart, a theater, two bars and, on fall Friday nights, a football game followed by a kegger at the lake. In one way, though, my friends and I had everything: acid, pot, speed, pills and even cocaine. Bought at the kitchen table of a farmhouse whose windows were sheets of plastic hung with tacks, then consumed in our cars on gravel county roads. Where were the cops? At the diner, all two or three of them, eating cherry pie.
+Last month someone published a study on the matter, very rigorous, very systematic. It confirmed how little has changed. Kids in the country are more likely to use illegal drugs than city kids. And not just slightly more likely, either. Thirty-four percent more likely to smoke dope. Fifty percent more likely to use cocaine. One hundred and four percent more likely to use amphetamines. The study was titled 'No Place to Hide,' as though it were exposing some shocking loss of innocence, the closing of some unspoiled moral frontier.
+Because I still live in the country (western Montana, in a company town whose company was a railroad that left, along with its jobs, some 15 years ago), the only thing that shocked me about the study was how so many people still don't understand that rural America is poor America, and that country poor is different from city poor -- different in a way that makes kids desperate for a psychedelic change of scenery. You can be poor in a city and visit an art gallery, gawk at a multinational's glass tower, watch a bus full of Wheaties-box pro athletes pull up next to a new domed stadium. If you're poor in the countryside what you see are failing farms, jobs packing chicken parts in plastic bags, shuttered stores and junk cars in crabgrass yards. The only images that give kids in the sticks something to aspire to are the ones they see in the movies or on TV.
+What country kids won't see on TV, of course, are any lives resembling their own. Shows about parents who work three part-time jobs just to replace the transmission on the Ford. Shows about farmhouses heated by wood stoves fueled by log ends from the lumber mill. Maybe it's good that such shows don't mar prime time, but their absence does send a message to country kids. This message is, You don't exist out there. New York exists, Los Angeles exists and even Chicago exists, sometimes. Not you, though.
+When I was growing up we found ways of making ourselves feel as though we existed. Me, I liked the drama of the drug thing. The money changing hands. The secret meetings. That moment of Oz-like transport when colors brightened and I could imagine a different life, better lit, on a wider screen, in stereo. A friend of mine -- a wasted burnout who lived with a man who wasn't his dad, in a situation he couldn't explain -- told lies. Big, crazy lies, the kind of goofy yarns that speed freaks spin when they haven't been getting enough sleep. He claimed he was visiting St. Paul once and met a world-famous heavy-metal band walking down the street. Their drummer was sick and they had a concert that night, so they asked him if he could play the drums for them. He told them that he couldn't, that he had a basketball game. He wanted to exist, in the worst way. He was like me, a fool for inner cinema, a restless Huck Finn on a methamphetamine raft.
+When 'No Place to Hide' hit the wires, a lot of experts were quoted on the causes of rural drug abuse. Their theories ranged from Hollywood's influence to Washington's myopia. Joseph A. Califano Jr., the former Health secretary and president of the research group involved, called for an increase in government spending. But I can't help worrying that if that money does come, it will be used to fill more jail cells with people who will eventually get out of jail and move back to towns like mine not only as addicts, but also as seriously ticked-off criminals who know how to fashion knives from ballpoint pens.
+If the government experts really want to know why so many country kids, as I was once, light so many joints and snort so many lines, I can tell them. Boredom and freedom. We had a lot of both when I was young. And until a new idea creates some drama in the hills and plains -- until chemical excitement ceases to be the only kind that these forgotten kids have access to -- the combination will produce the same results as it did for me and my friends.
+We'd hop in our cars on a summer weekend night and drive down a dark dirt road to an old house where our dealer lived with lots of cats. The guy was well into his 60's, a veteran, I think. After we made our deals, he'd try to hold us by passing out beer from his fridge and telling stories about all the colorful people he hung out with back when he lived in California or somewhere. We humored the guy. We could understand his loneliness. He wanted to exist, and so did we.
+Walter Kirn is a critic and a novelist. His latest book is 'Thumbsucker.'"
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+The loft used to be a distinctly urban animal: empty downtown factories converted first into living spaces by struggling artists, then later into trendy up-market condos. But like many city dwellers, as it has matured, the loft has moved farther away from the hustle and bustle of downtown life. Last year, the National Association of Home Builders incorporated the 'loft look' in its annual demonstration home in Las Vegas. A cross between SoHo and Pleasantville, the house featured an open plan, buffed-concrete floors and high ceilings, but it also sat amid a manicured lawn in a gated subdivision. It drew rave reviews and quickly sold for $1.9 million.
+The 'loft look' -- also known as 'factory chic' -- has since proliferated across the Sun Belt and Midwest, often in so-called soft-loft condos (which are built from scratch rather than converted) but occasionally as single-family detached homes. Loft-style houses boast roll-up metal garage doors, cage-ensconced outdoor lights and exposed ductwork -- 'City living without the city,' boasts the developer of Stone Canyon, a loft subdivision in Las Vegas. Many of these lofts also come with the sort of trappings McMansion dwellers have come to expect: walk-in closets, granite countertops, sunken bathtubs.
+Loft-style living is popular not just in blue-state enclaves like Boulder or Austin: this year developers in Texas announced the 10-story Tower Lofts at Town Square in Sugar Land, Tex., the heart of Tom DeLay's Congressional district.
+Why is the 'loft look' suddenly so popular? Partly because urban dwellers aren't the only ones who find open floor plans appealing. And partly because the city, once the bane of middle-class existence, has again become acceptable, even alluring -- everyone wants a piece of the 'Sex and the City' lifestyle. But everyone also wants good schools, yards and the sort of square footage that's affordable only outside the city limits. Mix all those together and what do you get? Suburban lofts.
+Clay Risen"
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+A former physician who the authorities say poisoned patients from Ohio to Zimbabwe but continued to find medical jobs will plead guilty in federal court Wednesday to charges that he killed three patients at a Long Island hospital in 1993, prosecutors said today.
+The former doctor, Michael J. Swango, will admit that he murdered the three men with poison while working at the Northport Veterans Affairs Medical Center on Long Island, according to Gary R. Brown, the assistant United States attorney who is prosecuting the case. Beyond that, Mr. Brown would offer no particulars about the plea agreement.
+But an official familiar with the negotiations between prosecutors and lawyers for Mr. Swango, 45, said that by accepting the deal he would avoid the death penalty in New York and extradition to Zimbabwe, where the authorities have issued a warrant for Mr. Swango's arrest on charges that he poisoned seven patients, five of them fatally, when he worked there from November 1994 to July 1995.
+The official said  that the former doctor would also plead guilty Wednesday before Judge Jacob Mishler of United States District Court to mail and wire fraud charges. Within the description of those charges, Mr. Swango is accused of assaulting two patients in Africa, another elderly patient at the Veterans Hospital and a patient at Ohio State University Hospitals, all of whom died in his care, the official said.
+Randi Chavis, a lawyer for Mr. Swango, would not comment on the plea agreement.
+With the agreement, prosecutors say they will close the book on one of the most bizarre and unsettling stories in modern medicine. It seemed that no matter where Mr. Swango went, allegations, suspicion and death followed. According to the book 'Blind Eye: The Terrifying Story of a Doctor Who Got Away With Murder' (Simon & Schuster, 1999), by James B. Stewart, questions about Mr. Swango began to surface as early 1982, when he was a medical student at Southern Illinois University. After an inordinate number of his patients died, classmates called him Double-0 Swango, joking that he had a license to kill.
+Prosecutors believe that while working as an intern the next year at Ohio State University Hospitals, Mr. Swango murdered or tried to murder a number of patients by injecting them with poison. In his plea, it is expected that Mr. Swango will also acknowledge that he lied to the hospital investigators in connection with the death of the Ohio State Hospitals patient, Cynthia McGee, 19, in January 1984. Prosecutors said that Mr. Swango murdered her by giving her a potassium injection that caused her heart to stop.
+After several mysterious deaths, but no hard evidence, the Ohio State University Hospitals ended Mr. Swango's neurosurgery residency. He then returned home to Illinois, where he got a job as a emergency medical technician with the Adams County Ambulance Service. While working there, he got into a dispute with co-workers and laced their doughnuts and coffee with ant killer. Five people became ill but no one died. Mr. Swango served two years of a five-year sentence.
+When released from prison, Mr. Swango applied to residency programs in West Virginia and Iowa, but administrators noticed his falsified records, and his applications were rejected. He tried a third time in 1993 at the Veterans hospital in Northport, N.Y., and was accepted. The day after he was hired, his first patient, Dominic Buffalino, fell into a coma and died.
+Three more patients died of lethal injections delivered by Mr. Swango, prosecutors said: Thomas Sammarco, 73; George Siano, 60; and Aldo Serini, all of Long Island. Mr. Swango will plead guilty to their murders on Wednesday, prosecutors said.
+Officials charged Mr. Swango with the three murders in July, just as he was about to be released from prison in Colorado, where he was serving a three-and-a-half-year term for lying his way into the Northport hospital. After exhuming the men's bodies, forensic experts determined that they had indeed been poisoned.
+'I've heard the news this afternoon' Mr. Siano's stepdaughter, Roselinda Conroy, said today about the plea agreement. She said she had always assumed that her father had died from natural causes. 'I'm absorbing it,' she said.
+Relatives of Mr. Buffalino said that they were happy that a serial killer would be removed from society, but would remain dissatisfied until the cause of his death was properly identified. 'I'm glad he can't kill anymore, but I would like to see some answers in terms of my brother,' said Andrew Buffalino, 70, of Huntington. 'My interest now is one thing. I want to see an autopsy report.'
+After Northport officials learned of Mr. Swango's criminal record, they fired him. He became a physician at Mnene Mission Hospital in Bulawayo, Zimbabwe, using forged documents form the Federation of State Medical Boards. He is still wanted in that country.
+Mr. Swango was eventually arrested in 1997 in Chicago while waiting for a flight to Saudi Arabia, where he had a new job as a doctor."
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+Miss America Speaks Up
+With the there-she-is moment having passed, the new Miss America, ERIKA HAROLD, looked back to an incident that happened when she was in ninth grade and involved racial and sexual harassment and, she said, death threats. She told a news conference in Manhattan yesterday that she arrived at school one day to find that some of her classmates were pooling their money to buy a rifle.
+The plan, she said as she announced that she would promote anti-violence and anti-bullying programs during her year as Miss America, was to kill her.
+She said she felt that school officials had not handled the situation adequately. A call to the school she attended at the time, the University Laboratory High School in Urbana, Ill., was not returned yesterday.
+Clinton Diplomacy
+Some Czech officials traveling with PRESIDENT VACLAV HAVEL were baffled when BILL CLINTON not only skipped a reception given by the City University of New York on Friday, but also gave his own at a nearby hotel and did not invite Mr. Havel.
+Mr. Havel and Mr. Clinton appeared at a symposium with the Nobel Prize winner ELIE WIESEL at the City University's Graduate Center, at Fifth Avenue and 34th Street. Officials there had spent weeks planning a post-symposium reception they believed Mr. Clinton would attend. It featured musicians Mr. Havel wanted to hear, including LOU REED, JUDY COLLINS and LAURIE ANDERSON.
+Two hours before the symposium, Clinton aides told Graduate Center officials that he would not attend the reception there. Then the aides began handing out printed invitations to the Clinton reception. The invitations said that party would be at Morgan's, the Madison Avenue hotel run by IAN SCHRAGER.
+'It was strange,' said a Havel confidant, adding that Mr. Havel was nonetheless pleased with his visit. 'If someone can explain what was going on, please do so, because we are not that experienced in New York social communication.'
+A Clinton spokeswoman would not discuss the matter for publication.
+A Starless Opening
+The crime-and-comedy film 'The Good Thief,' starring NICK NOLTE, opened the San Sebastian Film Festival's 50th anniversary last week. Mr. Nolte, below, was not on hand. The week before, he checked himself into a substance abuse and psychiatric center in New Canaan, Conn., where BILLY JOEL spent time this summer and MARIAH CAREY last summer. Mr. Nolte, who described himself as a 'functioning alcoholic' before he became a fitness buff in the 1990's, arrived at the Silver Hill Hospital on Sept. 14, three days after he was arrested and booked for investigation of driving under the influence of alcohol or drugs in Malibu, Calif.
+An Amicable Merger
+LAURENCE FISHBURNE and GINA TORRES, who kept their engagement quiet for eight months until he let it slip on the 'Tonight' show last year, were married on Sunday. Ms. Torres, who was a regular on the Lifetime program 'Any Day Now,' wore a gown by the Australian designer MIRA MANDICH. Among the guests were CICELY TYSON, KEANU REEVES, LENNY KRAVITZ and ELTON JOHN.
+Absolutely Fabulous Security
+The singer DEBORAH HARRY and the actress ANGIE HARMON breezed into the V.I.P. area at Vue, a nightclub on East 50th Street. But the guards there apparently do not watch much British television (or much Comedy Central), so they did not recognize JENNIFER SAUNDERS and would not let her in.
+She is the star of 'Absolutely Fabulous,' the British sitcom-sendup of the fashion industry that became a hit in this country on -- pay attention here, guards -- Comedy Central. She was one of the people for whom the party was being given (the other was JOANNA LUMLEY, another 'Ab-Fab' star).
+The party-giver was GLENDA BAILEY, the editor of Harper's Bazaar. She had invited such recognizable guests as the playwright WENDY WASSERSTEIN; the model HEIDI KLUM; the magician DAVID COPPERFIELD; the actors CHRISTOPHER MELONI and RICHARD BELZER of 'Law and Order: Special Victims Unit'; and the British talk-show host GRAHAM NORTON (wearing a sparkly white Roberto Cavalli jacket and Da Vinci jeans). And, after several publicists and Harper's types intervened and explained who Ms. Saunders was, she was finally allowed in.
+Boldface Names"
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+The Newton  Some consumer products are famous for inspiring something that is more powerful than mere loyalty in their customer base. 'Customer' isn't even the right word -- 'follower' is more like it -- and what these people feel is devotion. Apple Computer is frequently used as an example of a company that makes such products. Aside from partisans for the Macintosh, there are also many determined fans of a smaller, hand-held device who are so united in their devotion that they form a kind of secret society. No, not iPod fans. Newton fans.
+The devotion of Newton users is all the more extraordinary because the product, introduced in the early 1990's, was a notorious flop. The Newton, you may recall, was a forerunner of today's popular Personal Digital Assistants, like the PalmPilot, that rely on a penlike stylus. (According to the lore, a series of 'Doonesbury' installments mocking early handwriting-recognition problems was a pivotal event in the Newton's sad trajectory; in any case, this was an instance when the 'early adopters' so beloved by tech-business gurus were laughed out of the room.) The Newton was killed off by Apple in 1998; yet consumer loyalty has outlived production itself. Thousands of Newton believers congregate by way of Web sites and e-mail lists like the Newted Community and NewtonTalk and in real-world user groups or even at last month's Worldwide Newton Conference in Paris.
+To some extent, Newton loyalty fits into the broader context of Apple loyalty, which is the subject of a new book, 'The Cult of Mac,' by Leander Kahney. But just as, say, Lubavitchers have beliefs that break with Orthodox Judaism, so the Newton fanatic has differences with mainstream Apple-istas. Most pointedly, they disdain Steve Jobs himself for committing the apostasy of ending Newton production.
+As 'The Cult of Mac' notes, Newton loyalty has attracted the attention of the academy. Albert Muniz, an assistant professor of marketing at DePaul University, has been studying 'brand communities' for about a decade. Our real communities, it has been said, are disintegrating. We don't know who our city councilman is; we shun P.T.A. meetings; we've never met our neighbors. But Muniz argued in a paper on the subject (written with Thomas O'Guinn of the University of Illinois at Urbana-Champaign) that brand communities, 'based on a structured set of social relationships among admirers of a brand,' are real communities. He acknowledges that it's more typical to cite the culture of consumption as something that undermines social togetherness rather than creates it. 'But our point of view is: This is a human phenomenon, we are social beings,' Muniz says. 'If community gets lopped off over here, it will emerge somewhere else.' Groups of Saab, Bronco and Macintosh admirers -- all studied by Muniz and O'Guinn -- even possessed 'a sense of moral responsibility' (albeit a 'limited and specialized one').
+Muniz subsequently became interested in Newton fans in particular. 'By virtue of necessity, the Newton community is far, far more devoted' than other brand communities he had studied, Muniz says. After all, if you happen to own a Newton or buy one on eBay, the only place to get service, technical support or advice is from the Newton community. That is also the only place to learn, for example, how to get software to turn your Newton into an MP3 player. But, really, what's the point? Muniz has a couple of answers. On one level, 'we-ness' is its own reward. Moreover, he says, the Newton happens to be a great product that was ahead of its time.
+Um, what? It turns out Muniz was so intrigued by the enthusiasm of Newton community members that he bought one. Then he bought another one. This may or may not mean that he has drunk the Kool-Aid, but his research continues. He's working on a paper on the value that Newton users have actually added to the product that Apple gave up on. 'The Newton community has picked up where Apple left off,' Muniz says. 'It's like Cubs fans,' he adds. 'No matter what hardships you throw at these people, they figure out some way to get around it and persevere through it.'
+THE WAY WE LIVE NOW: 10-31-04: CONSUMED E-mail: consumed@nytimes.com."
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+My son and I were moving caskets -- an oak with Celtic crosses on the corners, a cherry with a finish like that of our dining-room table, a cardboard box with a reinforced bottom, caskets that could be buried, burned, blown into space or set adrift. (The boomers who are buying funerals now do better with a broad selection.) I was talking to him about ' protection,' about condoms and careful choices and coming of age. He'd been out too late the night before.
+But my son has heard this speech already; he and his siblings, all in their 20's, occupy a place where pleasure and risk intersect, so they are experts in cautionary tales. In a display room full of caskets and cremation urns, he would rather talk about his future.
+He says he wants to be a funeral director. He wonders if I'd ever sell to S.C.I. -- Service Corporation International, the Barnes & Noble of the funeral biz. They're buying up firms like ours across the globe: Frank E. Campbell's in Manhattan; Kenyon's in London, which used to bury the royals. Closer to home, in Michigan, they bought out our nearest competition last year. The talk in the trade is that they raise prices, cut services, put in a fleet of telemarketers to push 'preneed' sales and pay their shareholders handsomely. They are aggressively positioning themselves for the baby-boom years, the next 20 or 30, when the number of annual deaths in the United States will grow by a million compared with today. The boomers' presence is already being felt, of course -- some are dying, many more are buying funerals for their parents.
+'The only problem is they buy your name,' I tell my son. 'It's all you really have.' The name on the sign -- ours says Lynch & Sons -- is the one they call in the middle of the night when there's trouble. It's the one that makes you accountable to the community you live in, the one asset we can't replace and dare not sell.
+My father taught me about protection. It was the late 1960's, early 70's. We'd go into the casket-selection room at the funeral home. He'd play the undertaker -- no stretch for him. I'd be the bereaved client with a dead mother -- pure theater for me. My mother was going strong back then, full of life. I was floundering between college and career, not quite certain about my 'future,' interested mostly in Irish poetry and Italian women. I worked at the funeral home to finance my travels and indecision. I caught the phones at night, slept in the apartment on the second floor, kept my passport handy, my bag packed.
+'The first one you show them is very important,' my father said. 'It establishes the mid-range, the average. You know, not the most expensive and not the least.' He stopped beside a steel model called Praying Hands, named for the applique in the cap panel. He lifted the velvet overlay to expose the rubber gasket. 'The most important difference between one casket and another has to do with its protective qualities,' he said earnestly. 'Most of the metal caskets in this room are what we call sealed caskets, because of this gum-rubber gasket that runs around the perimeter of the shell.'
+'Who cares?' I'd say, playing the doubting Thomas. 'Isn't she dead?' He showed me the crank used to seal the lid shut, and then he handed me this 'key.'
+'To some families protection is very important.' He paused. 'To others it means nothing at all.' The message was obvious: which kind of family are you from?
+Then he displayed the various materials: mahogany, oak, cherry, steel and the top-of-the-line, one that shone like a bright new penny. 'This is solid copper, a permanent metal. Unlike steel, which might rust or corrode, copper oxidizes with age. It gets stronger and stronger. These
+precious metals are the best value in protective caskets.' The room hummed with anticipation as I thought it through.
+Stronger, protective . . . Mom?
+Protection and permanence were organizing ideas of my parents' generation. Children of economic collapse and a planet constantly at war, they were schooled against waste and letting down their guard. There was general, low-grade anxiety over 'exposure' and liabilities. Well-engineered tampons, movie ratings, underarm deodorants -- each offered defense against some contagion, embarrassment or invader.
+In the years that have passed since my father taught me caskets, I have sold my share of them. We don't push protection anymore. 'Choice' is the buzzword. Everything is customized. The generation now in the market for mortuary wares is redefining death in much the same way that, three decades back, it redefined sex and gender.
+If my father sold caskets on protection and permanence, I offer choices, options, New Age alternatives. Where he occupied a world of black and white, custom and tradition, moral certainty, my fellow boomers still see our rights and wrongs as relative; we roll our own orthodoxies.
+Always the demographic bullies on the block, boomers are now grieving and dying, so grief and death are all the rage. The market is bullish on ritual and metaphor, for acting out our hurts the way our ancients did. Whether we burn or bury our dead is less important than what we do before we dispose of them. Boomers are hustling to reinvent the rituals that got our parents and their parents through age and sickness and sadness and loss, in case, just in case, it could happen to us. Faced with the deaths of the ones we love, we are stuck between the will to do everything, anything and nothing at all.
+Back at the funeral home the hot topics (forgive me) are cremation and designer funerals. Members of my parents' generation, in their 70's now, are behaving as their boomer children once did -- fast and mobile, they're buying motor homes and time shares in casino towns, and they do not want their lives or deaths to be a burden to their kids. They do not want to be 'grounded' to the graves they bought when people stayed put and always came home. Their ashes are Fed-Exed around the hemisphere in little packages, roughly the weight of a bowling ball. Not nearly the life-size burden of a casket, not nearly the bother or expense. They get sent back from Florida and Phoenix, to old homes in the cold north and Rust Belt states.
+Still, their sons and daughters, in receipt of these tiny reminders, are beginning to wonder: Is that all there is? Is it enough to get out our cell phones and our Gold Cards and have our dead elders disappear with no more pause than it takes to order up sushi to go? Can we distance ourselves entirely from the physical realities of death and still expect to enjoy the physical wonders of life? Is a good bargain on a funeral really such a good deal if it doesn't do the job of properly commemorating death? Even the late Jessica Mitford, that priestess of simplicity, whose 'American Way of Death Revisited' is due out from Knopf next month, had a lavish multimedia farewell in London last year.
+Hence, more and more, we boomers care for our own dying. More and more we are making up new liturgies to say goodbye. More and more we seem willing to engage fully in the process of leave-taking. We rise early to watch the televised departures of princesses and modern saints. We read the obituaries every day. We eulogize, elegize and memorialize with vigor. The trade is brisk in wakes and funerals that offer a personalized touch. My father's generation did copper and concrete and granite memorials. We do biodegradables, economy models and ecofriendly cyberobsequies. He sold velvet and satin and crepe interiors. We do urns that look like golf bags and go to cemeteries with names like golf courses. You can buy a casket off the Internet, or buy plans for a self-built 'coffin table' or one that doubles as a bookshelf until you 'need' it. There's a push for 'do it yourself' funerals -- as if grief were ever anything but. Cremated remains can be recycled as memorial kitty litter, sprinkled on rosebushes, mixed with our oil paints to add texture to fresh masterpieces.
+We have, as the Batesville Casket Company calls its latest marketing approach, Options. And as the demographic aneurysm gets nearer to bursting in two or three decades, the marketplace is readying for another boom. Soon, every off-ramp on the interstate across the continent will have a Burger King, Barnes & Noble and Funerals 'R' Us. Telemarketers are busy interrupting our dinners, selling us choices from the ridiculous to the sublime, from bang to whimper, and everywhere between. The fashions change. The feelings seldom do.
+The facts of life and death remain the same. We live and die, we love and grieve, we breed and disappear. And between these existential gravities, we search for meaning, save our memories, leave a record for those who will remember us.
+I am the age my father was when I was my son's age. Figure that. Halfway between the half a century between those two -- sometimes it seems that we repeat ourselves. I hear my father's caution in the way I caution him about life's changes and dangers, about drugs and drink and being 'sexually active.' We talk about making responsible choices, safe sex, committed relationships, condoms and consequences: permanence and protection come round again.
+One of these days I'll have to teach them caskets.
+Thomas Lynch is an undertaker in Milford, Mich. A book of his poems, Still Life In Milford, will be published in September."
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+A trip to the diet doc, circa 2013. You prick your finger, draw a little blood and send it, along with a $100 fee, to a consumer genomics lab in California. There, it's passed through a mass spectrometer, where its proteins are analyzed. It is cross-referenced with your DNA profile. A few days later, you get an e-mail message with your recommended diet for the next four weeks. It doesn't look too bad: lots of salmon, spinach, selenium supplements, bread with olive oil. Unsure of just how lucky you ought to feel, you call up a few friends to see what their diets look like. There are plenty of quirks. A Greek co-worker is getting clams, crab, liver and tofu -- a bounty of B vitamins to raise her coenzyme levels. A friend in Chicago, a second-generation Zambian, has been prescribed popcorn, kale, peaches in their own juice and club soda. (This looks a lot like the hypertension-reducing 'Dash' diet, which doesn't work for everyone but apparently works for him.) He is allowed some chicken, prepared in a saltless marinade, hold the open flame -- and he gets extra vitamin D because there's not enough sunshine for him at his latitude. (His brother's diet, interestingly enough, is a fair bit different.) Your boss, who seems to have won some sort of genetic lottery, gets to eat plenty of peanut butter, red meat and boutique cheeses.
+Nobody is eating exactly what you are. Your diet is uniquely tailored. It is determined by the specific demands of your genetic signature, and it perfectly balances your micronutrient and macronutrient needs. Sick days have become a foggy memory. (Foggy memory itself is now treated with extracts of ginkgo biloba and a cocktail of omega-3 fatty acids.)
+'Ultimately, the feedback you'll get will be continuous,' says Wasyl Malyj, an 'informatics' scientist at the University of California at Davis working with the new Center of Excellence for Nutritional Genomics, who is helping me blue-sky here. The appeal of this kind of laser-targeted diet intervention is hard to miss. If you turn out to be among the population whose cholesterol count doesn't react much to diet, you'll be able to go ahead and eat those bacon sandwiches. You'll no longer be spending money on vitamin supplements that aren't doing anything for you; you'll take only the vitamins you need, in precisely the right doses. And there's a real chance of extending your life -- by postponing the onset of diseases to which you're naturally susceptible -- without having to buy even a single book by Deepak Chopra.
+This, then, is the promise -- and the hype -- of nutritional genomics, the second wave of personalized medicine to come rolling out of the Human Genome Project (after pharmacogenomics, or designer drugs). The premise is simple: diet is a big factor in chronic disease, responsible, some say, for a third of most types of cancer. Dietary chemicals change the expression of one's genes and even the genome itself. And -- here's the key -- the influence of diet on health depends on an individual's genetic makeup.
+How does that work? Consider what happens, biologically, when we eat a meal. Until quite recently, most scientists thought food had basically one job: it was metabolized to provide energy for the cell. Indeed, that is what happens to most dietary chemicals -- but not all of them. Some of them don't get metabolized at all; instead, the moment they're ingested, they peel off and become ligands, molecules that bind to proteins involved in 'turning on' certain genes to one degree or another. A diet that's particularly out of balance, nutritional-genomics scientists say, will cause gene expressions that nudge us toward chronic illness -- unless a precisely tailored 'intelligent diet' is employed to restore the equilibrium.
+Take genestein, a chemical in soy, which attaches to estrogen receptors and starts regulating genes. Different individuals may have estrogen receptors that react to genestein differently. Genetic variations like that one, some scientists say, help explain why two people can eat exactly the same diet and respond very differently to it -- one maintaining his weight, for example, and the other ballooning.
+There is a buzz around nutritional genomics at the moment, which is partly a matter of timing. A sea change is under way in the approach scientists are taking to disease -- they're looking less to nature or nurture alone for answers, and more to the interactive symphony of 'systems biology' that nutrigenomics epitomizes.
+At the same time, chatter around this new science has been amplified by a controversy. The idea of the biological relevance of race -- even its very existence -- is hotly debated. And the assumption of real genetic markers that distinguish one ethnic group from another is at the philosophical heart of nutrigenomics.
+Here's the most familiar example: If you're of Northern European ancestry, you can probably digest milk, and if you're Southeast Asian, you probably can't. In most mammals, the gene for lactose tolerance switches off once an animal matures beyond the weaning years. Humans shared that fate as well -- until a mutation in the DNA of an isolated population of Northern Europeans around 10,000 years ago introduced an adaptive tolerance for nutrient-rich milk. The likelihood that you tolerate milk depends on the degree to which you have Northern European blood.
+'That, essentially, is the model -- a very dramatic one,' says Jim Kaput, the founder of NutraGenomics, a biotechnology company. 'As humans evolved, and as our bodies interacted with foods on each of the continents, we sort of self-selected for these naturally occurring variants. And certain populations have variants that, when presented with Western-type food -- which is usually fatty and overprocessed and high in calories -- pushes them toward disease rather than health.'
+Plenty of examples bear out this ill fit between certain cultures and certain diets -- suggesting, if not quite proving, some interplay of genes and nutrition: the Japanese who relocated to the United States after World War II soon saw their cholesterol levels soar. The Alaskan Inuit, whose metabolism was perfectly suited to moving around all day, looking for high-fat food, were suddenly saddled with an evolutionary disadvantage when they began living in heated homes and traveling on snowmobiles, and they now show high levels of obesity, diabetes and cardiovascular disease. The Masai of East Africa have developed new health problems since they abandoned their traditional cattle-meat-and-blood-and-milk diet for corn and beans.
+The cradle of nutrigenomics is the cradle of humankind itself: the original migration out of Africa created widely separated subpopulations with distinct collections of gene variants. The members of each subpopulation tend to respond similarly to diet and environmental conditions. But the genetics of race is an inexact science. And since many people have ancestors from different continents -- making them a genetic admixture -- the data are rarely clean-cut. In other words, ethnicity is relevant to nutritional genomics, but only as a starting point. Which is why the idea of sorting ourselves by race and pursuing a diet consistent with the original continental diet isn't going to be very helpful. And why, in fact, the customized diets of most people's perfect genomic future will probably not be all that different from one another.
+Kaput estimates that the middle 60 percent of the bell curve are probably not going to need to deviate too much from the basic fruit-and-vegetable-heavy diet recommended by the Department of Agriculture. The folks who will benefit from customized nutritional packets, he says, will be the 20 percent at either end: those at the top who don't have to worry much about what they eat -- and will thus be able to cut corners -- and the 20 percent on the bottom, who respond disastrously to conventional diets and will discover that they need to follow special diets or eat specific supplements. The problem for everyone will be figuring out where they fall on the curve of each disease profile.
+Just how far in the future are we projecting here? When will nutrigenomics be ready for public consumption? Even many of those who have faith in the science concede that the staggering complexity of interactions among genes, and between genes and the environment, will be a real challenge to solve. As a workable concept, 'eat right for your genotype' may be a decade or two -- or more -- down the road.
+'Right now, no one in their right mind would offer genetic testing or tell you what drug to take,' says Dr. Muin Khoury, director of the Office of Genomics and Disease Prevention at the Centers for Disease Control. Despite that warning, a handful of companies are already offering genomics profiles and nutritional supplements to early adopters looking for an edge. One company, the North Carolina-based Great Smokies Diagnostic Laboratory, offers a genetics-testing service called Genovations. Clients pay up to $1,500 for a preventive health profile.
+For nutrigenomics to realize its potential, though, vast, ethnically diverse databases of genomic profiles will have to be assembled, from which researchers will try to divine patterns.
+But that, of course, opens up a whole new can of genetically modified worms. Once our genotypes are in databanks, can we really be sure they won't be sold to employers or insurance companies? And in what social gulag will those poor saps find themselves who simply cannot resist tucking into a double-cheese all-beef sub during the seventh-inning stretch?
+Bruce Grierson is a writer in Vancouver. His last article for the magazine was a profile of J. J. Goldstein, a teenage spelling champion."
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+1913-1996 -- He was born Rudolf Wanderone. But when Jackie Gleason made the fictional character of Minnesota Fats famous in the 1961 film 'The Hustler,' Wanderone decided that there was a real Minnesota Fats and that he was it.
+So began a successful career of bluster and pronouncement. Fats knew the game and had the traveler's repertory of trick shots -- he was a master of the bank shot -- but connoisseurs saw through to the ordinariness of his play.
+Fats knew how to make money. 'Shooting a game of pool without some serious money riding on the outcome,' he once said, 'is like Rudolph Valentino being chased by 400 gorgeous tomatoes, only he runs to his hotel room and reads Playboy.' Equipment makers eagerly hired him to travel and promote, as much for his patter as his play.
+Fats also said, 'I always walked into the biggest and best poolroom in town . . . and said, 'Here I am boys. Come and get me.' ' I personally know of one Pittsburgh house man who challenged him, but Fats ducked him with a flurry of insults and evasions. One famous televised match between Minnesota Fats and the great Willie Mosconi was dominated by the latter. Fats would lumber around the table, lamenting his bad luck; meanwhile, Mosconi -- the fierce, kinetic genius of straight pool -- quietly thrashed him.
+BERNARD HOLLAND
+THE LIVES THEY LIVED: Minnesota Fats  Bernard Holland is chief music critic for The New York Times."
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+Shhh. Listen.
+At the campground here, there is no bzzz-bzzz-buzzing around the ears of vacationers trying to sleep under the stars. No thwack-thwacking, palm on thigh, of picnickers in the park. No scratch-scratching of children's fingernails -- nor tsk-tsking of reprimanding adults -- the next morning.
+That silence is the sound of a mosquito-free summer.
+'Last year I was playing connect the dots with the mosquito bites on my legs,' said 12-year-old A. J. De Marco of New Canaan, Conn., as she and her campground cronies captured and then released Leppy the leopard frog. 'I'm usually covered, but now all I have is scratches from climbing the mountain.'
+As an exceptionally hot and dry summer plagues farmers throughout the Eastern Seaboard and Midwest, there has been one upside: mosquitoes are as scarce as the little puddles and pools their eggs need to hatch.
+Truth be told, the season is not quite mosquito free. There have been scattered swarms of the salt-water mosquitoes that breed in coastal marshes whenever high tide comes. But the far more common species that blanket inland areas each year are largely missing.
+In Connecticut, scientists found an average of 250 mosquitoes a week in each of their 37 traps during last July; this July, it was about 75. On Long Island, Suffolk County's mosquito catch for the entire month of July was 6,152 -- compared with 27,161 last summer. In Monmouth County, N.J., mosquito-watchers counted 1,711 in traps last month, about a fifth of the typical July yield over the previous six years.
+'It's been, probably, the quietest summer we've had in years,' said Martin Chomsky, superintendent of the Monmouth County Mosquito Extermination Commission. 'I would say that this is a record year in terms of the lack of freshwater mosquitoes.'
+Gardeners are going outside without bug nets. Summer people are eating dinner on the deck.
+In Florida, mosquito researchers in Vero Beach had to travel to a different part of the state to track down their subjects. And Rite Aid and CVS both say sales of mosquito-related products, from citronella candles to bug spray, are off about 25 percent nationwide, and even more in the drought-ridden areas.
+'I was very prepared with the itchy stuff, the calamine and Caladryl, and we haven't had to use it,' said Clara D'Angelo, the nurse at Camp Waneeshi in Salt Point, N.Y., where 90 Girl Scouts pitch tents each night. 'I'm well prepared for mosquitoes that don't exist.'
+Scientists say the phenomenon is simple: 'If you understand that mosquitoes need water,' said Wayne Crans, director of Mosquito Research and Control at Rutgers University, 'no water, you're not going to have mosquitoes.'
+But Dr. Crans cautioned that the pesky population can regenerate as quickly as a flash flood. 'They're waiting,' he said ominously.
+After biting humans, female mosquitoes use the blood to nourish hundreds of eggs. They lay these eggs in places where water collects -- tree holes, tires, ditches, an empty can, a pothole -- typically near the edges. When there is enough water, the larvae mature into full-blown mosquitoes. The females go out and bite, and the cycle starts over.
+Weeks without rain has left puddles dusty, tires and cans empty. The flood channel where A. J. De Marco and her friends were playing is typically a steady stream, but today barely managed a trickle.
+The eggs, however, are still there, unharmed by the heat and drought. They can wait. And wait. For years. A dose of rain, or even a splash from a hose, and, after about 10 days, they'll be off and biting.
+How many mosquitoes will emerge depends entirely on how much rain: Think of the place where a puddle was as blanketed with waiting eggs. If the puddle fills up again, all those eggs will hatch; if less water collects, the outer rings of eggs will remain dormant.
+'My advice?' said Jan Washburn, a mosquito specialist at the University of California at Berkeley. 'Enjoy it while you can.'
+As dusk descends on campsite No. 35 here, the Grom family is deep in mosquito-free enjoyment, gathering around the flickering fire, marshmallows and sticks at the ready.
+The door to the screen porch in front of the mobile home is wide open. A fly swatter hangs unused on a pole, its orange plastic weave unstained by death. Later, guests gather for an outdoor screening of 'Forrest Gump.'
+'I've been here two weeks and I haven't used bug spray once,' said Glen Grom, who has spent 26 of his 33 summers on this spot. The citronella candle on the picnic table, he added, 'is more for light than anything.
+'It's psychological,' he said.
+Others hardly noticed the difference.
+'I guess since we haven't thought of it, there haven't been any,' said Janell Barnao, 20, of Dover Plains, who was lounging by the lake with her family.
+'It takes a while,' said Ms. Barnao's father, Don, 'to realize what's missing.'
+Though traditionally buggy sites like Lake Waramaug, the New Jersey bayfronts and many parks and beaches on Long Island seem remarkably mosquito free, certain spots have been hit hard by the salt-water mosquitoes, whose multiplication does not depend on rainfall. The lack of rain has, in some cases, given these species more places to breed, as more marshy land dries out.
+When the highest tides come at the new moon and full moon, these marshes get wet, and about 10 days later, the swarms begin.
+'When the baby returned from Shelter Island this weekend, she was so covered in bites that I thought she might be having a chickenpox outbreak,' said Monica Monterroso of Sea Cliff, who baby-sits for a 1-year-old girl. 'Her mother and I took her to the doctor and learned that another infant had been in that day with the same problem.'
+Salt-water mosquitoes also can fly up to 15 miles to find targets, so even some inland areas are getting hit.
+In areas where mosquitoes are missing, other insects have taken their place in the complaint department. At Lake Waramaug, the gnats are nasty and black flies plentiful.
+In New Jersey, Mr. Chomsky said he has found unusual waves of greenhead flies and midges, tiny insects that look like mosquitoes but don't bite. Everywhere, it seems there are infestations of ants, who love the steamy heat.
+'The bugs have been awful,' said Lisa Gatti, director of Pal-O-Mine, a horseback riding program for the disabled at the Willow Tree Farm in Huntington, N.Y., where administrators recently ordered a shipment of ecologically engineered nonbiting wasps to eat the excess flies. 'You can't even ride, the bugs are so bad.'
+Mosquitoes are not the sole food source for any other animal, experts said, so there will be little direct impact on the larger ecosystem from the population decline. While the reduced number of mosquitoes also reduces the risk for the diseases they carry, experts noted that the high season for eastern equine encephalitis -- a deadly virus that has appeared in the region in recent years -- comes in late August and September.
+Once enough rain comes, whenever it comes, mosquitoes will quickly return to their former strength. Next summer should be mosquitoes-as-normal, unless there is another drought.
+'Every single spring we get a call and they say: 'We've had a mild winter and we've had a wet spring. The mosquitoes are going to be terrible, right?' And we say we cannot really predict,' laughed Dr. Crans, one of the nation's leading experts in the field. 'If you could give us long-range weather projections, we can tell you about mosquitoes.'
+Mosquitoes, being scarce, were not available for interviews."
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+After a bank employee at the University of Wisconsin-Eau Claire campus mistakenly filled an A.T.M.'s $5 slot with 20's, word quickly spread, and students dropped their Sunday studies -- some literally running -- to grab the extra money during a five-hour binge. Uplifting note: one youth reported the error, and two infractors surrendered to a campus cop dispatched to guard the cash cow. Bank officials won't reveal how much was initially lost, but say they adjusted students' accounts to deduct ill-gotten gains.
+SUNDAY NOVEMBER, 10, 1996"
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+Ruby-throated hummingbirds, red-wing blackbirds and great blue herons inhabit the salt marshes, freshwater ponds and pine swamps that make this storied island one of the last nature refuges of Long Island.
+But it is the osprey, a fish-eating hawk that builds skyscraper nests out of junk, that has captured the imagination of generations of East Enders. Residents around Peconic Bay baby the big birds, building platforms in yards for the ospreys to nest. Tourists come to see them take their dramatic dives into the water to snap up flounder with their claws.
+'New York has its World Trade Center, Paris has its Eiffel Tower and Shelter Island has its ospreys coming back every spring,' said Clifford P. Clark, owner of Shelter Island's south ferry.
+That sort of fealty is rooted in many things, including the almost mythical loyalty of osprey mates as they return to the same nest year after year, sometimes for a decade or more.
+In an animal kingdom where polygamy and incest are commonly the rule, the osprey has long been viewed as a paragon of virtue along with the monogamous goose and swan.
+But a study being conducted here is beginning to rewrite the book on the bird, and it is putting the osprey's formerly spotless reputation in jeopardy. It is beginning to look like ospreys are not necessarily loyal to their mates. It is their nests of twigs mixed with fish netting, cow dung and seaweed that somehow merit their attachment, if not their affection, according to the latest findings of the researchers.
+The University of Minnesota's Raptor Center launched the study in 1995, using satellite telemetry to track dozens of ospreys migrating from breeding areas in Oregon, Minnesota and Shelter Island all the way to their winter hideaways as far south as Pantanal National Park in southwestern Brazil.
+Outfitted with wired backpacks that emit signals for tracking by a satellite ground station in Landover, Md., the ospreys are giving scientists precise information on where these and other birds fly and how much time they spend from place to place along their migration route.
+The Nature Conservancy, a private environmental group, will supply Latin American governments with the new information as well as assistance to protect the areas where the ospreys go.
+The scientists plan to work several more years before publishing a definitive paper, but have already found that parts of Cuba and Haiti are important stopover points that require protection.
+The study has also found that as a species, the osprey is generally in excellent shape 25 years after it was endangered in New York State because of an overexposure to DDT. But in one disturbing new finding, scientists are finding low reproduction rates along one area on the Columbia River in Oregon. And closer to home, they are finding that the ospreys have been slow to return to the 2,000-acre Mashomack Preserve on Shelter Island this year.
+These could be telltale signs of some environmental trouble.
+So much for the pure science. Now to the details that are making the scientists clear their throats, blush and sometimes ask inquiring reporters to go off the record.
+'Maybe I shouldn't say this, and I'm not ready to make any leaping statements yet,' said Mark Martell, conservation coordinator at the University of Minnesota Raptor Center. 'But what we're seeing is that the males and females are not wintering together. It's not very romantic.'
+Mr. Martell was quick to note that the study has confirmed that the ospreys do not find mates away from their North American nests. But researchers are finding that the males generally return to their breeding grounds several weeks sooner than the females they mated with the spring before.
+One 19th century naturalist described seeing an osprey mourn for a dead mate. But the researchers say they have seen no such grief and that the males are not always patient.
+In one indication that the birds' newly discovered extracurricular mating habits will not spoil the high popular esteem in which they are held, one fifth-grade class in the Shelter Island School is logging on regularly to the Raptor Center's Web site (http://www.raptor.cvm.umn.edu) to follow the migrations. The children have named the three most recently tagged Shelter Island birds, which are called X-4, X-5 and X-7,  Kid, Chestnut and Fisher.
+X-4, a female that spent her winter in Venezuela, appeared to be happy and healthy last Friday morning, getting ready to lay eggs at her nest above a shell beach just west of Shelter Island's south ferry station. Her mate perched on a dead oak nearby and from time to time flew around the nest with a catch of herring, which he thoughtfully brought her.
+'He's trying to impress her to show what a great fisherman he is, to show he'll be a good provider,' said Michael S. Scheibel, a biologist at the Mashomack Preserve, who was making notes for the University of Minnesota study. 'There is a certain amount of pair-bonding that he has to continue to work on. Don't we all?'
+Next, Mr. Scheibel drove his four-wheel-drive vehicle through the preserve to Majors Point, a secluded spot far from the island's golf courses and manicured lawns, in search of X-5, another female. X-5 wintered in Brazil, and last sent a reliable satellite signal March 22 from Richmond, Va.
+But she has not returned, and her nest was disheveled and empty, with a solitary jimson weed sticking out of it like a cowlick.
+'I'm beginning to get a little worried,' said Mr. Scheibel, scratching his bearded chin in bewilderment.
+He speculated that perhaps X-5 as well as her mate from last year may not return to Majors Point because the survival rate of their young was lower than normal last year. Why that is the case is still a mystery, but it may be because the flounder population is too low in the area to provide a bountiful enough food supply, or because predator owls ate their young. Either way, he said, action must be taken to settle the ecological imbalance so the ospreys will return in larger numbers in future years.
+'Maybe the female found such a good food supply in Virginia she decided to stay there,' Mr. Scheibel said, 'or she found another mate.'
+Finally, it was time to check up on X-7, a male with a taste for Cuba's habitat, which mysteriously had not given off a signal in almost a month.
+Rounding a bend onto Mashomack Point, Mr. Scheibel cried out 'I see a bird!' But its brown breast and large size indicated that it was a female and not X-7.
+Suddenly, a male swooped down, and in one of the great sights of nature, he hovered above the female and then attempted to mount her. But the female would have nothing to do with him.
+Mr. Scheibel reached for his binoculars to give the male a good look. 'He's not wearing a radio pack,' he said in disappointment. 'I wonder if he lost it in Cuba, or maybe somebody shot that bird in Cuba.'
+As for the attempted copulation, he had another conjecture, adding, 'Maybe we are witnessing some philandering or a divorce.'
+Ospreys' Reputation Takes a Sudden Dive"
+False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,True,True,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,True,True,False,False,True,True,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"The Neediest Cases; Couple Finds Some Relief After Medical Problems
+Mornings have not been kind lately to Victoria K.
+On April 30, she woke up in her Queens home and could not see out of her right eye. Her legs felt heavy, and her right arm was limp. Three months shy of her 36th birthday, Victoria was having a mild stroke.
+'It was horrible and scary, but when it was happening I couldn't even concentrate on what was going on,' she said.
+Over the next few days, the facial numbness and paralysis she experienced faded, but the dizzy spells and light sensitivity continued. Her doctors advised her to leave her job as a business consultant. So Victoria, the primary breadwinner for her two sons, 5 and 19, and her husband, 47, went on disability.
+Then, one morning in June, her husband's skin turned yellowish, and he found that he had difficulty walking. He had been complaining of leg pain for months, and his doctors had prescribed arthritis medication. Victoria rushed him to the emergency room at St. Joseph's Hospital in Flushing. There, blood tests and CAT scans added up to something frightening: he had third-stage squamous cell lung cancer. At the time, the family income was $169 a week from disability, down from $800 a week when Victoria was working. And the rent for April, May and June -- $3,627 -- was late.
+'I called up Cancer Care and told them that I couldn't pay the rent and that I didn't know what to do,' said Victoria, who, because of all the difficulties she has been through, did not want her full name used. 'They told me to get on public assistance, and at that point I was willing to do anything to make sure my husband and children were taken care of.'
+Two weeks later a caseworker from the city's Human Resources Administration visited her, and Victoria signed the paperwork needed to file for a one-shot grant to cover her past-due rent.
+And then?
+'That's when the mess started,' Victoria said, 'and things went from bad to much, much worse.'
+Her husband underwent surgery in July to remove a third of his lung. In the following weeks there were plenty more of those hard mornings. They started with conference calls to her husband's doctors, and ended with long rides back from his sickbed in St. Vincent's Manhattan Hospital. All the while, the eviction notices kept coming.
+The response from the Human Resources Administration, when it finally arrived, did not make things any easier. Tucked into a bulging purple folder of documents chronicling the family's struggles, a blue piece of paper reads, 'Disability income is sufficient to meet family needs.' Victoria's case was closed, and her rental assistance claims, she said, had not even been addressed.
+Over the next several weeks, Victoria fell into another seemingly fruitless routine. Rounds and rounds of phone calls yielded other people's numbers, shelter recommendations and advice to keep harassing her caseworker.
+'I'm the kind of person that takes the bull by the horns,' she said. 'If there is a way, I will find it. But there was no way. Every door was sealed.'
+Finally, though, one of those doors opened. Victoria's phone calls eventually led her to the Community Service Society of New York, one of the seven charities supported by The New York Times Neediest Cases Fund.
+'What really moved me about her situation was that she'd had a stroke, but she was still advocating for herself and her family, still trying to navigate her way through public assistance,' said Natasha Baptiste, a caseworker with the agency's eviction prevention program.
+Ms. Baptiste went to work right away to figure out exactly how much Victoria owed, how she could get the money and why her initial request for rental assistance remained unresolved. It was slow going because Victoria's initial application had gotten lost in the system, and according to Victoria and Ms. Baptiste, caseworkers said she needed to reapply. In the meantime, Ms. Baptiste was making calls to other charities so that Victoria, her husband and her sons wouldn't be evicted.
+On Sept. 27, the total amount pledged by various agencies to help the family was about $4,350, about $2,700 of it from Neediest Cases. 'Two days later, we got a letter saying that I was approved for rental assistance,' Victoria said. 'With Ms. Baptiste advocating and me advocating, it still took forever, but she was my angel.'
+These days the checks are still coming in, and Victoria's husband is on the mend. Though he still has pain and has been advised by doctors not to push himself, he has returned to work as an operations manager at a livery cab service in Queens.
+Victoria's older son, a trained chef, is looking for a job, and her other child, a kindergartner, keeps up a steady commotion riding his bike and playing with his toys.
+Most days, Victoria wears sunglasses because of lingering light sensitivity. She still has dizzy spells, too. But there is much less stress. She is collecting unemployment benefits and has started a nonprofit eviction prevention agency to offer the kind of assistance that Ms. Baptiste and the Community Service Society gave her family.
+'I probably have a college education in the system at this point,' Victoria said, 'and I want to help other people who are in my situation so they won't have to go through what I had to deal with.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to 4 Chase Metrotech Center, 7th Floor East, Lockbox 5193, Brooklyn, N.Y. 11245, or any of these organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station P.O. Box 4100 New York, N.Y. 10261-4100
+Donations may be made with a credit card by phone at (212) 556-5851 (ext. 7) or online, courtesy of CharityWave.com, an Internet donations service, at www.nytimesneediest.charitywave.com. For instructions on how to donate stock to the fund, call (212) 556-1137 or fax (212) 556-4450.
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the funds expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget."
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+A California man pleaded guilty in Manhattan yesterday to Federal charges that he defrauded nearly 1,600 investors nationwide of more than $95 million by promising them quick profits through buying the life insurance policies of terminally ill people.
+Such purchases, known as viatical settlements, have become increasingly popular, especially for people with diseases like AIDS who can no longer work and have difficulty paying their medical bills.
+But in this case, prosecutors said, the patients, their insurance policies, and their medical documents all were made up.
+'This was a complete fraud from beginning to end,' said Mary Jo White, the United States Attorney for the Southern District of New York. 'There were no life insurance policies, all of the critical documents were forged and the medical diagnoses were fictitious.'
+The defendant, David W. Laing, 53, of Rancho Mirage, Calif., pleaded guilty before Judge Shirley Wohl Kram of United States District Court to one count of securities fraud and two counts of mail fraud. He faces up to 20 years in prison and a possible fine of up to twice his victims' losses, or $190 million.
+In a typical viatical settlement -- the term derives from the Latin viaticum, for the money and supplies one takes on a journey -- a patient sells his or her life insurance policy to an investor at a discounted price. The insurance company pays the investor the full value of the policy when the patient dies; the sooner the death, the higher the investor's return.
+In July 1996, Mr. Laing, the president of Personal Choice Opportunities, put together a multimedia marketing campaign that promised investors annual interest payments of up to 25 percent. His victims each put up a minimum of $25,000, and as much as several hundred thousand dollars apiece, prosecutors said.
+The scheme unraveled quickly beginning last February, according to court documents, after the California Department of Corporations found that Mr. Laing's company was operating without a license. The department subpoenaed the company's records, but the company did not comply, citing confidentiality.
+That response soon set off alarm bells at the Federal Bureau of Investigation, where agents acting on a separate tip began an undercover investigation of Personal Choice Opportunities, offering to invest several million dollars with the company. The agents discovered that Mr. Laing had personally received more than $30 million in investors' money, which he then used for personal expenses, spending as much as $10 million gambling in Las Vegas, prosecutors said.
+Robert L. Shapiro, Mr. Laing's lawyer, declined to comment after the proceeding.
+A doctor involved in the scheme,  Thomas K. Hines, 62, of Carson City, Nev., pleaded guilty on Nov. 6 to a charge of conspiracy to commit securities, mail and wire fraud, prosecutors said. Dr. Hines admitted that he lied to investors, telling them that he had reviewed the medical histories of hundreds of terminally ill people who had sold their life insurance policies to Personal Choice Opportunities."
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+MY father used to tell me this story about when I was 4: We went outside after a snowfall, and he gave me a little shovel and a very small patch of the sidewalk. He had this big patch, and he suggested that we race to see who could get finished first. He finished first. He and my mother laughed because, they said, I threw my shovel down and cried, and it became clear to them I was very competitive. Maybe I also learned that I'd like to make the rules someday.
+Once, when I was about 12, we were coming back home from church and I announced I really hated Sunday school and would like to go to the sanctuary with my parents. My father became just furious and said: 'Of course you can't leave Sunday school. If you don't like it, change it.'
+When we got home, I had to make a list of all the suggestions I might make for changing Sunday school. My mother had to drive me down for a meeting with the superintendent of Sunday school. We made a plan, engaged some of the other students and we did change the Sunday school, made it more of a learning experience for all of us.
+We were the family of an entrepreneur who believed he was building something that would outlive himself.
+Now my son, Curtis, is the president of the company, and my daughter Wendy is working in Dallas in the restaurant company. Diana, my eldest daughter, has just gone on the board of directors, and my sister's son, Jeffrey, has also just gone on the board of directors.
+After I graduated from college, when I applied for a job at Paine Webber, I really had to sell hard. I thought I wanted to be a stockbroker, but there were no women registered representatives in Minnesota at that point, so I convinced Paine Webber that I would be a securities analyst covering the Midwest region.
+They were convinced that if I signed my reports 'Marilyn Nelson' that people would not buy stock recommended by a woman. The deal was, I could be an analyst, I could do the work and I could put out reports, but that I had to sign them M.C. Nelson. My daughters can't believe that I wouldn't have refused to do that, but I was thrilled to have the opportunity.
+I had an early mentor, Harry Holtz, who asked me onto my first board of directors when I was in my late 30's, at one of the smaller, successful trust companies in the country.
+It involved managing estates, but it also involved dealing with the founding families of 3M, Pillsbury and others. I came to understand family dynamics, trust dynamics, multigenerational expectations and also the balance sheet, profit and loss and portfolio management.
+Jill Conway, a former president of Smith College, was another mentor. She was a skilled diplomat, and I also watched her build international relationships for the school.
+My daughter Juliet died in an automobile accident on a highway in Vermont on her way back from Dartmouth when she was at Smith her freshman year; she was 19. For the family, it made us particularly conscious of wanting to use the time we have to make a difference.
+I used to run and I love to ski, and when I started worrying about my knees, I tried Rollerblading. I absolutely fell in love with it. When I have a tough problem, if I can take a long Rollerblade break, I usually can work it out. I started probably when I was 50.
+I'm a nut about poetry. I like Yeats, Keats, and I used to really like some of the French poets, Flaubert and others, because it was a nice way to keep familiar with my French. I like Robert Frost, Carl Sandburg. I got to know Rilke when Juliet died because somebody sent me a book of his poetry that was pretty amazing.
+MARILYN CARLSON NELSON  Chairwoman and chief executive of the Carlson Companies, the hotel, restaurant and travel services company based in Minnetonka, Minn.  BIRTH DATE -- Aug. 19, 1939  COLLEGE -- Smith College  NIGHTS SPENT IN HOTELS LAST YEAR -- 103  NUMBER OF CARLSONS ON THE BOARD AT THE CARLSON COMPANIES -- Six
+OFFICE SPACE: THE BOSS"
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+As the Bush administration considers withdrawing from air pollution lawsuits against power plants in the Midwest and South, people on both sides of the dispute say the Northeast states that have also sued will be hard-pressed to pursue the cases on their own.
+The suits were filed under a Clean Air Act provision that the administration is reviewing and plans to overhaul. The review was originally scheduled for completion last week, but the Environmental Protection Agency announced on Tuesday that the deadline had been postponed to next month, a delay that officials said was partly due to a split within the administration.
+Spencer Abraham, the energy secretary, and Christie Whitman, the E.P.A. administrator, both advocate broad changes to the enforcement program, known as new source review, to give power companies more flexibility in meeting pollution limits. But administration officials say there is substantial disagreement on the details, with Mr. Abraham's approach including withdrawal from at least some of the suits while Mrs. Whitman favors preserving them.
+Without Washington's participation, most of the cases would be dropped because the states do not have legal standing to pursue them, according to state and federal officials, environmentalists and power companies. They add that the remaining actions would be made far more difficult without the vast resources of the E.P.A. and the Justice Department. And a federal government reversal could dissolve landmark agreements with two power companies that have accepted great reductions in the pollution from their plants.
+Environmentalists are also concerned that even if the new source review program survives, it will be in greatly scaled-back form. They point, among other factors, to President Bush's recent nomination of Donald Schregardus as chief enforcement officer of the E.P.A., a post from which he would play a crucial role in determining whether power plants had violated the law and, if so, how to deal with them.
+Mr. Schregardus, as chief environmental officer for the State of Ohio, was part of an administration that strenuously opposed the filing of new source review lawsuits. The Senate has not acted on his nomination.
+'We will pursue these cases no matter what happens in Washington,' said Eliot L. Spitzer, the New York State attorney general, 'but losing out on the participation and resources of E.P.A. and the Justice Department would be a substantial loss and would make our job much harder, no question.'
+In the Northeast, so much of the pollution arrives on the prevailing winds from the West and South that if New York City and some other areas were to stop all local emissions, they would still violate federal clean air standards. After two decades of steady improvement, the region's air quality leveled off and has even worsened a bit, abetted by hot summers two of the last three years. So far this year, monitoring stations around New York State have recorded 168 ozone readings that violate federal standards, the second-highest figure for any year in the last decade, and a sharp increase from 60 in all of last year.
+In pursuing new source review cases without federal help, the greatest obstacle that the Northeast states would face is geographic. To win a new source review case against a power plant, a state must establish that it has legal standing by proving that its air is measurably affected by the emissions from that plant. While lawyers for the Northeast states have built cases against plants up to 400 miles away, they believe they would be unable to act against more distant plants.
+The states sued 17 plants in Virginia, West Virginia, Indiana and Ohio. (Mr. Spitzer also notified the owners of seven plants in New York that he intended to sue if they did not agree to install pollution controls, and his office is in negotiations with those companies.) Northeast officials have talked with their Southern and Midwestern counterparts about filing their own suits, to broaden their reach, but so far they have found no takers.
+'The states haven't targeted us, and we don't think they could,' said John Sell, a spokesman for Southern Company, a major power producer in the South that is the subject of a federal suit.
+The E.P.A. has sued 34 plants and taken other enforcement actions under new source review against 20 others. The agency signaled last year that it intended to go after many more plants -- in talks with two power companies, it insisted on changes at 12 plants that were not named in its enforcement actions -- and officials said the number could top 100.
+The E.P.A.'s actions have included old coal-fired plants in North Carolina, South Carolina, Georgia, Florida, Tennessee, Kentucky, Alabama and Illinois -- plants that are beyond the grasp of the Northeastern states.
+'E.P.A. simply has much greater reach than we do, so there's much more they can do,' said Richard Blumenthal, the Connecticut attorney general. 'And they have vastly superior resources, which are critical against these big corporations that have indicated they will fight and delay.'
+Among other things, the states would have to produce sophisticated computer models showing the movement of air pollution over long distances -- the sort of work E.P.A. does already, but the states do not.
+Mr. Spitzer said his office has eight lawyers working on the cases, compared with the dozens the federal government has assigned to the litigation. 'Resources are an enormous issue,' he said. 'If Washington pulls out, I would say we would have to double the number of people dedicated to these cases.'
+Courts also give a certain deference to federal agencies' interpretation of relevant federal laws -- for instance, to the E.P.A.'s view of the Clean Air Act -- and lawyers on both sides say the states would not receive the same deference.
+A lawyer representing a company that has been sued by both the federal government and the states said, 'There's no question: if the feds go away, my job gets a lot easier.'
+John L. Kirkwood, chief executive  of the American Lung Association, said: 'There's much less the states can do than what the feds can do, and it's harder for them to do it. This really needs the Bush administration's participation.'
+Over the last three decades, federal law has imposed increasingly strict air pollution standards on new power plants. But plants built before those rules were created are exempt from federal controls.
+The federal and state suits charge that power companies have done such extensive work upgrading older plants, under the guise of routine maintenance, that those plants should come under new source review and meet the same standards as new plants. Power companies call that a misinterpretation of the law and say it will prevent them from doing maintenance needed at older plants, leading to more frequent breakdowns.
+At issue in the suits are pre-1970 coal plants that, in some cases, produce up to 10 times as much nitrogen oxides and sulfur dioxide -- the major contributors to smog and acid rain -- as are permitted from new plants. Power plants produce two-thirds of the nation's sulfur dioxide emissions, and about 30 percent of the nitrogen oxides.
+New York and the E.P.A. filed their first suits in 1999, and six other states -- Connecticut, New Jersey, Massachusetts, Rhode Island, New Hampshire and Vermont -- later joined in some of the suits. In New Jersey, it was the administration of Mrs. Whitman, then the governor, that sued.
+Last year, three power companies settled E.P.A. actions against them by agreeing to drastic emissions reductions at their plants. One of those settlements, with Tampa Electric in Florida, is final.
+But the two larger deals, reached late in the year with Cinergy, an Ohio utility, and Virginia Electric Power, were tentative, and neither the companies nor the Bush administration has moved to make them final. Both sides have indicated that they might seek to modify the agreements. The two settlements, covering 18 plants, would be by far the largest ever under the Clean Air Act, with each company agreeing to spend more than $1 billion."
+False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,True,False,False,False,True,False,False,True,False,True,False,True,False,True,True,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"Survivor
+We lived in Riverdale, Ga., me and my dad and my mother and my two brothers. We didn't know nothing about Huntington's disease back then -- even the doctors didn't know much. We didn't know the chances of us getting it till later on. Now it feels like a family curse. My dad's brother had it. He shot and killed himself. My grandmother got put in a sanitarium and died there.
+We first knew my dad was sick in the 70's. He was coaching my baseball team then. He went from being everywhere outdoors to not doing practically nothing at all. It got to where somebody had to watch him all the time. Huntington's eats part of your brain, the part that controls the nervous system. I took care of him for a couple of years during the day, and my mom took care of him at night after work. He kept walking out the door, going toward the mailbox, probably 20 or 30 times a day, and finally we had to start locking the door to keep him from getting out. He always talked about going to work, needing to go to work, and we would have to tell him he didn't work anymore.
+Randy came down with it about the time we put my dad in the nursing home. There wasn't any test back in the early 80's; you pretty much just waited for symptoms. Randy started wandering off, too, going to the neighbor's house, thinking one of his friends lived there. He would get upset over the least little thing. We'd go out in public, and one of us would ask, 'Where do you want to sit at?' and he would start raising Cain: 'That's my seat.' If he lost his cigarettes or something, he'd blame it on somebody. Only thing we could do was take him back home, get him away from people and talk to him. I was pretty much the only one who could talk to him. Sometimes that wouldn't work, and we'd wind up fistfighting. I'd try to calm him down before he hurt somebody, but mainly to keep him from hurting Mama.
+Andy got sick, too. Randy more or less had jerky motions, but Andy shook all the time, worse and worse. Randy never shook the way Andy did. It advanced a lot faster with him for some reason. I tried to hide it for years. I wouldn't tell nobody what was wrong with my dad, tried to keep it from my friends what was wrong with my brothers. It was kind of embarrassing to me.
+When they told me I had it, it wasn't nothing I wasn't expecting. I started showing symptoms in my late 20's: memory loss, jerking, muscle spasms like in my eyebrows. I'd start shaking, and it would keep going for two or three hours, sometimes longer, sometimes all day. There are certain things you can do to hide it, like if you get your hands in your pockets or you hold on to something, people don't see you shaking. I've been doing that for a long time. I just didn't want to be treated different. Sometimes I stumbled when I walked. I lost my temper a lot; you get aggravated and get ill at somebody.
+I have to live. I can't just lay down and die. The more I do for myself, the more I keep my balance and memory; that's what the doctors told me. I drive and do my own cooking and cleaning. My daughter is 12. I've got her here every other weekend. I take care of myself. Don't nobody has to do nothing for me. If I quit doing it all, they say I could advance faster. I have nightmares about it a lot, Stephen King nightmares.
+Really, I went public, let all my friends know, when all this happened with my mother. The night it happened, the sheriffs knocked on the door. They told me to come outside. They opened the back of my truck and told me to sit down on the tailgate. They said something happened down there at the nursing home: my brothers had been shot. At first I didn't know what to think. I didn't know my mom had got arrested until about 2 or 3 in the morning.
+The last time I saw her was earlier that day. I had went out and bought something from Kentucky Fried Chicken. She said she wasn't hungry. She told me she was going down to see my brothers. I didn't know she was upset. I can't let myself go wondering what I could have done or what I couldn't have done. I can't change things now. My mom is in jail. There's people down here all over the place saying she needs to be freed, that she's already suffered enough. I agree with that. She raised them from babies; when they got old, she had to take care of them again. I know my brothers better than anybody else, and they didn't want to suffer like that. I know they're not suffering anymore.
+I'm not worried about dying, but I am worried about going into a nursing home. I've grown up going to them, and I know how miserable they can be. At the end, my brothers were technically brain dead. I don't think they died that night my mother went to the nursing home. I think they died a few years ago. Randy was 42, and Andy was 41. I'm 38. The day I can't get around and walk and fish and do other stuff, I think my life is over then. Why drag it on after that? You just hurt the people around you.
+LIVES"
+True,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,True,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Wallet Scrutiny
+Driving to work, I found a wallet in the road containing identification and more than $300, which I suspected was the 'bag money' of a street-corner drug dealer. I did some online research, and the guy has had legal troubles and currently owes child support. May I mail him his ID, send half the money to his ex-wife to support his child and keep the rest as a reward for my good deed?
+E.B., Connecticut
+You should not return ill-gotten gains to the ill-getter -- if you found bags of money stolen from a bank, you would deliver them to the bank, not the bank robber -- but why are you certain that this is what you have found? That $300 is not so magnificent a sum as to require a felonious accounting. You simply don't know the source of this money. If you have a strong suspicion that the wallet is evidence of criminal behavior, turn it in to your local police station. If not, mail it back to its owner.
+In neither case can you justify keeping half the money 'as a reward for my good deed.' Returning a lost wallet is ordinary decent behavior, not a remarkable heroic exploit. In addition, a reward must be offered freely by the person wishing to bestow it; it's not something you can peremptorily grab. The technical term for that, as I, a nonlawyer, understand it, is stealing. And while this guy -- any guy -- should of course pay his child support, it is not for you to enforce that obligation through vigilante cash-snatching.
+Sorry to offer so unrelenting a catalog of disapproval. On the upside, I am impressed with the acuity of your vision in spotting a wallet in the road from a moving car. My compliments to your ophthalmologist.
+I work for an organization that places volunteers around the United States in nonprofits that help alleviate poverty. This organization provides us volunteers with a biweekly subsistence allowance at the poverty level of the communities we serve and encourages us to apply for food stamps.
+I am a college graduate who could earn a decent living, but I choose to do this work. I could perhaps live on my allowance with strict budgeting. Is it ethical to apply for food stamps?
+S.B., Chicago
+It is indeed ethical to apply for food stamps. And when you do, fill out those forms honestly and comply with all eligibility requirements, which refer not to some hypothetical earning power but to your actual income. Those who designed the program could have required you to seek more profitable employment (recipients of unemployment benefits must demonstrate that they are able and available to work, for example), but they chose not to. No nurse's aide or poet (or poetical nurse's aide) is compelled to return to school for an M.B.A. And you have no obligation to set more rigorous food-stamp eligibility standards for yourself than your state has.
+And beyond legalisms, there's no ethical reason that your efforts to do a bit of good for others should require you to shun a federal program to which you are entitled. Ideally, of course, those who work so altruistically would make a decent living -- or at least a living -- and not have to struggle at the subsistence level. It is sad when soldiers or anti-poverty workers are so poorly paid that they need food stamps to feed their families.
+As far as I know, not a single wealthy person declined his tax cut and sent the I.R.S. extra money; similarly, you need feel no reluctance to participate lawfully in a government program meant to benefit those without wealth.
+THE WAY WE LIVE NOW: 2-20-05: THE ETHICIST"
+True,False,True,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,True,True,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,True,False,False,True,True,False,False,True,True,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,True,False,False,True,False,False,False,False,False,True,True,False,True,False,True,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"The Neediest Cases; Love for Abandoned Boy Makes Adoption Succeed
+Darryl P., standing on his top bunk bed, was doing battle on Sunday.
+'I want to talk to you,' said his talking grasshopper, an interactive figure from the movie 'A Bug's Life.'
+'Are you scared of grasshoppers?' the toy asked.
+'I'm not scared of you!' Darryl shouted, and stuffed the grasshopper into a box.
+For a sick boy who was abandoned at birth by his crack-addicted mother, Darryl, 6, is faring better than many of the 39,000 children in New York City's foster care system.
+His good fortune is due partly to the dogged advocacy of the Jewish Child Care Association, an affiliate of UJA-Federation of New York, one of seven charities supported by The New York Times Neediest Cases Fund.
+The rest is due to Joanna P.
+About a week before Darryl was born, Mrs. P., now 57, was sick in bed with tonsilitis and saw a late-night public service announcement on the dire need for foster parents in New York City. Mrs. P., a widow since 1975, had already raised seven children of her own. But, she said, the advertisement moved her to call the telephone number in the ad.
+'I'm always saying, 'Charity starts at home,' ' she said. 'That commercial, it kind of broke me up. It touched, and I think it's been touching me ever since.'
+A few weeks later, she was caring for Darryl, then just a 10-day-old infant. Another week went by before tests revealed that he had H.I.V. and a condition called ventricular septal defect, a small hole in his heart that causes him to tire easily.
+'By that time I was crazy about him, so it didn't really matter,' she said.
+Nonetheless, the news was difficult to accept. 'I used to cry a lot,' Mrs. P said. 'I'd never felt anything like that, wondering whether he was going to survive day to day.'
+Mrs. P. credits her caseworker at the Jewish Child Care Association with helping her cope with Darryl's illness. From infancy, his medical condition required close monitoring and many hospitalizations. The caseworker coordinated his many medical appointments at a neighborhood health care center and helped Mrs. P., who is on public assistance, file the financial paperwork needed to provide for his treatment without cost to her.
+The caseworker also assisted Mrs. P. by demystifying the foster care system. Just because Darryl had been placed in a loving home was no guarantee he would stay there. Over the next four years, Mrs. P. and Darryl were in and out of Family Court hearings to report on Darryl's status. When Darryl's birth mother decided to forfeit her parental rights, Mrs. P. sought to adopt him, a request that was granted in 1997.
+But she could not understand how a mother could give up a child and thought that with help, the woman and Darryl might make it together, somehow. 'I had to try at least to give her a chance,' she said, referring to the birth mother.
+Throughout the many months that preceded the adoption, Mrs. P. repeatedly encouraged Darryl's birth mother to get treatment for her cocaine addiction, she said. Even the judge was surprised, Mrs. P. said, when she requested a six-month extension of the birth mother's parental rights, to offer the woman one last chance 'to get herself together.'
+'She's such a nice person,' Mrs. P. said. 'I tried to help her as long I could, until the judge got mad' at the birth mother and terminated her parental rights.
+As for Darryl, he is still too young to understand that he is adopted or that he has the virus that causes AIDS, Mrs. P. said. She has kept his H.I.V. status a secret, even from her own family. She frequently surveys friends and relatives about their attitudes toward H.I.V. and AIDS and is troubled by what she hears.
+'The way some of them talk,' she said, shaking her head in disgust. 'Stupid things, just so ignorant. I don't think I could live with anybody hurting him, because he's such a nice kid. So I just carry it.'
+Mrs. P. has managed to shelter Darryl so far, but she realizes these discussions are inevitable. 'I think about it all the time,' she said. 'I guess we'll have to deal with it.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these  organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station, P.O. Box 4100, New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded $4,701,594.78  Recorded yesterday 304,285.86
+Total $5,005,880.64"
+False,False,True,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,True,True,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,True,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"The Singer-Songwriter: Sufjan Stevens, Musician
+Stevens is the kind of sensitive post-folkie who draws comparisons to Nick Drake ...; Elliott Smith and Iron and Wine, but he is not just another cookie-cutter emo-boy.'  Last year, Sufjan Stevens released 'Greetings From Michigan: The Great Lake State' -- a strange, elegiac and warmly literate concept album that made his home state seem like its own reverberating lonely planet. This wasn't Michael Moore's Michigan, or the novelist Jim Harrison's, or Eminem's, or anyone else's. Stevens, who was born in Detroit and grew up there and in Alanson, a small lumber town in northern Michigan, took listeners on a kind of plaintive dream-tour, from Flint to Sault Sainte Marie to Ypsilanti, in lyrics that tended to be about not just factories and marching bands but also personal heartbreak and desolation. The album was a declaration of a serious -- and seriously idiosyncratic -- talent.
+Stevens, who sings in a confident whisper, is the kind of sensitive post-folkie who draws comparisons to performers like Nick Drake, Elliott Smith and Iron and Wine. He makes, in other words, very fine music to be bummed-out to. But Stevens -- his first name is pronounced SOOF-yan -- isn't another cookie-cutter emo-boy. His meditative, lo-fi albums are speckled with small, surreal outbursts of sophisticated musicianship. (On 'Greetings From Michigan,' which he produced, he plays more than a dozen instruments -- banjo and acoustic guitar, glockenspiel, English horn, vibraphone and sleigh bells.) His lyrics are as likely to refer to William Blake and Flannery O'Connor as to his own anomie. And in the fashion of the writer Dave Eggers, Stevens, who is 29, has gathered around himself a sprawling and ragtag community of like-minded souls, most of them self-taught musicians.
+'Our band, the Michigan Militia, has sort of a rotating set of members,' Stevens told me after a recent sold-out concert at the Mercury Lounge in New York. 'Who's playing depends on where I am in the country.'
+Stevens's songs may be scaled to small, intimate topics, but his ambitions are outsize: he has plans to write and record albums about the other 49 states as well. ('It's daunting,' he admitted. 'But I'm a man of my word.') In the meantime, listeners will have to make do with his preternaturally lovely new CD, 'Seven Swans' -- an album that is perhaps less quirkily grand than 'Greetings From Michigan' but more accessible and filled with hooks you can't shake out of your head. The album is dominated by Stevens's banjo playing, which has an Appalachian austerity; lyrically, it touches frequently on his own Christianity. (He's an Episcopalian.) 'My listeners are fine with that,' he said, 'because they know I'm not selling them anything or making any claims.'
+Stevens is so soft-spoken that I asked him if he ever felt like letting loose with a gut-twisting Roger Daltrey-type scream. 'Do I ever,' he said. 'It's a good time for yelling. And I can be a real baby, so I'd be great at it.'
+By Dwight Garner
+THE WAY WE LIVE NOW: 9-12-04: PAGE TURNER"
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+Q: As a professor of cognitive science at Indiana University who spends his time thinking about the process of thinking, what do you make of Descartes's famed pronouncement, 'I think, therefore I am'? Who knows what that means? It's a tiny, little aphorism. You can interpret it any way you want and say, 'What a wise man he was!'
+You first became known in 1979, when you published 'GÃ
+del, Escher, Bach,' a campus classic, which finds parallels between the brains of Bach, M. C. Escher and the mathematician Kurt GÃ
+del. In your new book, 'I Am a Strange Loop,' you seem mainly interested in your own brain. This book is much straighter. It's less crazy. Less daring, maybe.
+You really know how to plug a book. Well, O.K., I don't know. Questions of consciousness and soul -- that is what the new book was motivated by.
+You write movingly about your wife, Carol, who died tragically in 1993, and suggest that her soul remains embedded in your consciousness. You can imagine a soul as being a detailed, elaborate pattern that exists very clearly in one brain. When a person dies, the original is no longer around. But there are other versions of it in other people's brains. It's a less detailed copy, it's coarse-grained.
+You make it sound as if a soul can be Xeroxed. You can't duplicate someone exactly. I didn't say exactly. I said coarse-grained and approximate. Lower-resolution.
+Aren't you just putting a clever gloss on the phenomenon of memory? Many people believe that our lives end not when we die but when the very last person who knew us dies. Memory is part of it, yes, but I think it's much more than memory. It's the fact that my wife and I, for example, became so intimately engaged that her essence was imported into my brain.
+Why do you think you are still in mourning after all these years? She died when our children were so young. The chance to watch her children grow up was taken away from her, and that was the thing that absolutely destroyed me.
+In your book, you also discuss the souls of animals and your conversion to vegetarianism. I don't feel I have the right to snuff the lives of chicken and fish.
+What about mosquitoes? If a mosquito has a soul, it is mostly evil. So I don't have too many qualms about putting a mosquito out of its misery. I'm a little more respectful of ants.
+Your father, Robert Hofstadter, won the Nobel Prize in Physics in 1961 for his efforts on behalf of neutrons and electrons. I was 16 when he won. It was a good boost for my shaky ego. I was worried about whether I was a bright person or not.
+Did you feel reassured when you yourself won a prize -- the Pulitzer, in 1980, for 'Godel, Escher, Bach'? I don't like the idea of prizes, which make too much of a binary distinction between people. But in this case, the prize did me some tangible good. What I gained was academic freedom, the respect of my university.
+Your entry in Wikipedia says that your work has inspired many students to begin careers in computing and artificial intelligence. I have no interest in computers. The entry is filled with inaccuracies, and it kind of depresses me.
+So fix it. The next day someone will fix it back.
+You don't have any interest in artificial intelligence? I've taught a course called 'Hype vs. Hope in A.I.' Why does this field inspire such nonsense? People who claim that computer programs can understand short stories, or compose great pieces of music -- I find that stuff ridiculously overblown.
+What does a computer lack that a person has? It has no concepts.
+I know some people who have no concepts. They do have concepts. People are filled to the brim with concepts. You don't have to know what a concept is in order to have one.
+DEBORAH SOLOMON
+THE WAY WE LIVE NOW: 4-01-07: QUESTIONS FOR DOUGLAS HOFSTADTER"
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+Dr. Donald Little, Burlington, Iowa
+We staff two emergency rooms here in Iowa, both in older, predominantly white communities. These are places where a lot of the residents remember when African-mricans weereferred to as 'colored.' I've been addressed as 'colored.' It's sort of like stepping back in time. In the emergency room, sometimes the urgency of the situation doesn't allow patients to think about race, but I've had situations where people are clearly taken aback when I introduce myself as a doctor. They're clearly uncomfortable. You see it in their body language: a certain look, a certain shift. They'll ask a lot of questions that aren't medically related: 'Are you the doctor? Is there another doctor that's going to come see me?' I attempt to allay their discomfort. But it's a little more difficult with some of the personal attacks. I've had a patient's husband say, 'That little black boy needs to go back to school.' That's not something that anyone can prepare you for.
+It's hard to say if their attitude changes after I've treated them. In some situations I've felt like the barrier has broken down. I'm not under any illusion that their broader perception of race has changed, but at least their perception of me as a qualified professional has changed. That's all I'm after. That they recognize I'm able to deliver quality health care."
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+I'm from Faribault, Minn., a town of about 15,000, and the other night I went to a football game at my old high school and a guy asked me, What do you make, $40,000, $50,000 a year playing minor-league ball? I told him it's more like $9,000 or $10,000 a year. He's like: No you don't. I had no idea. A lot of people have no idea. When you figure out the hours we work, we make less than the minimum wage.
+I did sign for a bonus of around $70,000, but I spent most of it. I bought a lot of cool things: a silver Chevy Silverado, camcorder, computer. I guess I'm past the spending stage now. I got all that when I was 21, after leaving the University of Minnesota two years early. Now I look back and think I should have invested more.
+The two guys I lived with my first year, I got to know them really well. They were my best friends, and the next year they were gone. Released. That was difficult. The hardest part about this level is the loneliness of it. You know in high school, how your parents came to the games and your girlfriend and friends? In pro ball, those people aren't around anymore. In Fort Myers, you look up in the stands and there's 200 to 300 people, and you don't know any of them. You're alone and you're fighting for a job that only 5 percent of the people get.
+Next year is pretty critical for me. I was hurt three months this season, so I've got to stay healthy and play a full season. If I get another major injury, that's probably it. It's a cutthroat kind of deal."
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+John Gotti, the former head of the Gambino crime family who is serving a life sentence for murder and racketeering, has been transferred to a Federal prison hospital for treatment of an infected jaw, a lawyer for Mr. Gotti said yesterday.
+The lawyer, Richard A. Rehbock, said in an interview that Mr. Gotti's jaw had become infected recently after he received inadequate dental care at the maximum-security Federal penitentiary in Marion, Ill. On Tuesday, Mr. Gotti was moved to the Medical Center for Federal Prisoners in Springfield, Mo., Mr. Rehbock said.
+Since his conviction in 1992 on Federal charges, Mr. Gotti, 56, had been held in virtual solitary confinement at the Marion prison. On most days, he is allowed to leave his cell for only one hour of exercise, and all his meals are taken to his cell.
+'His dental problems have been seriously neglected and he needs more immediate attention,' Mr. Rehbock said. 'Otherwise, he is physically in great shape.' Mr. Rehbock said he expected that Mr. Gotti would be returned to the Marion prison after his treatment at the hospital.
+The sudden transfer, Mr. Rehbock said, had forced Mr. Gotti's relatives to cancel a holiday visit with him yesterday and on Thursday.
+A spokeswoman for the Federal Bureau of Prisons said she was barred by confidentiality laws from commenting on the reasons for Mr. Gotti's hospitalization.
+Law enforcement officials say that in October, Nicholas Corozzo replaced Mr. Gotti as the boss of the Gambino family, which is based in the New York metropolitan region. On Dec. 18, Mr. Corozzo was arrested in Florida on Federal charges of racketeering, loan sharking, arson and transfer of stolen goods. He is being held without bail pending trial."
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+FIFTEEN years ago, when Linda Mischley was looking for a public school for her severely disabled son, she moved hundreds of miles from northern Michigan to this Detroit suburb, so her Bobby could attend the Wing Lake Developmental Center.
+Wing Lake serves the kind of children who, in a less civilized society, would be discarded as vegetables and hidden away in institutions. The 140 students, from the ages of 3 to 26, have I.Q.'s below 30. Ninety percent, including Mrs. Mischley's 22-year-old son, Bobby, wear diapers. Half are in wheelchairs. For the rest of their lives, they will need to be cared for by relatives or in supervised group homes. What touches Mrs. Mischley is how much love and effort the staff puts into the students, even when, as she says, they are no longer young and cute and even when they become adults in diapers.
+The other day, Ray Hooton, who has taught at Wing Lake since 1976, was working with eight men in their 20's. He had each sitting at a table doing a task. They were quiet and busy. Michael was putting clothespins in a jar. Chris was trying to stick square blocks in square holes; many fell to the floor. Bobby was sorting plastic objects into six color piles.
+'It's taken Bobby two years to work his way up from two to six colors,' Mr. Hooton said. 'We were just talking about adding another color or two.
+'Michael's toilet skills are much improved. He's not fully trained, but we've been putting him on the toilet every two hours, and it's helped. Making progress at his age is great.'
+Thanks to Wing Lake, Mrs. Mischley says, she can take Bobby to a restaurant, and he no longer grabs food off strangers' plates. 'I found a church we can go to and sit through Sunday service,' she said. 'He has learned the concept of time.'
+Given the students' limitations -- most cannot even use a pencil -- it is hard to believe that the federal and state governments have instituted standardized tests for these students, but it is true. And though parents like Mrs. Mischley; teachers like Mr. Hooton (Michigan's special education teacher of the year); the Wing Lake school psychologist, Bob Mossman; the principal, Thomai Gersh; and the district special education director, Carolyn Packard, all think that this testing wastes weeks of everyone's time and generates huge amounts of useless paperwork, the federal government will soon mandate even more standardized tests for these students.
+When I asked Dr. James Rowley, a physician and the parent of a 9-year-old at Wing Lake, what officials were thinking, he replied, 'I'm not sure they were thinking.'
+This bureaucratic adventure began with the Individuals With Disabilities Education Act of 1997 and the altruistic-sounding goal of testing every child, no matter how disabled. The Washington brain trust gave states five years to create a test.
+But how to develop one test for so many children who are so severely disabled in such different ways? You can't, really. So what Michigan came up with -- and state officials say it is a national model -- are broad test categories like 'interacting with print' and 'participating in solitary physical activities.'
+It then becomes the job of the teacher, who knows the child best, to take that broad category and develop a specific test challenge for each child. So Mr. Hooton, knowing that his student Eric can walk down a hall with verbal prompts, has Eric walk down a hall, gives him verbal prompts and scores him 3, 'meets criterion.' And he knows that Paul, who is autistic and becomes distracted, can walk down a hall with physical assistance. So he has Paul walk down a hall, gives him physical assistance and scores him 3, 'meets criterion.' And he knows the best that Megan can do is sit in a wheelchair, and so Mr. Hooton wheels her down the hall and scores her 3.
+It takes most of March for the teachers to administer the tests. Then they send all that paperwork to Lansing, wait a few months, and get back the exact information they sent. Participating in solitary physical activities. Eric 3, Paul 3, Megan 3.
+Useless? 'I can't say I'm getting anything out of it,' Mr. Hooton said. 'Parents don't either.'
+When I asked Peggy Dutcher, Michigan's director of special education testing, what the point was, she said, 'It's the first time we've ever had a statewide assessment for all special education students.'
+But aren't teachers and parents just getting back information that they already know? 'Reaction has been very positive,' Ms. Dutcher said. 'People are loving this. They're thrilled.'
+Those bureaucrats in their cocoons. People at Wing Lake did not sound thrilled to me. Ms. Gersh, the principal said: 'We all just roll our eyes. Special ed is already so laden with paperwork, and now this.'
+Alice Johnson, a teacher, said, 'We find out nothing that we didn't already know.'
+Joe Yankee, another teacher said, 'We're not testing much of anything.'
+And Ms. Packard, the district coordinator said, 'We have not found any good information from this.'
+The saddest part? For 30 years, there has been a superb, federally mandated assessment program for severely disabled students known as the Individualized Education Program, or I.E.P. Each year, Wing Lake teachers write seven-page narratives that are shared with parents, describing each student's abilities and goals.
+The I.E.P. is far more comprehensive than anything a mainstream student receives. For a 12-year-old girl, for example, Ms. Johnson described how the child used 'Beatles' as a generic word for music and could almost dress herself, 'positioning the heel of the sock in its appropriate location and determining the top and bottom of the pants without confusion.'
+The I.E.P. is updated quarterly for parents.
+So why the state tests? As veteran Wing Lake teachers know, they are the educational fad of the moment. And they will grow worse. Ms. Dutcher, the state official, pointed out that under the new No Child Left Behind Act, by 2005 all states have to develop math, reading and science tests for the severely retarded.
+ON EDUCATION"
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+EIGHT years ago, when Barbara and John Mich decided to move from their 10-room house to an apartment half the size in Canton, Mass., they asked their six adult children to take many of the possessions they had accumulated over the years.
+The children came home to choose among those belongings -- like a grandmother's red marble table, a great-grandparent's china set and even a small ceramic Christmas tree that the family decorated each year with gumdrops. In many cases, the items may have had more sentimental than financial value.
+Mrs. Mich, 73, says she and her husband intend to give away more things over the next few years and to leave a list of the rest as part of their estate. Several of her children have already expressed interest in particular items. 'I think that if they want something and it means something to them, they should have it,' she said.
+In many other families, dividing the furniture, dishes, and assorted tchotchkes of a loved one doesn't go this smoothly. Parents usually leave it to their heirs to divide personal property after their deaths, giving their already overwrought children the challenge of splitting grandfather's beloved watch three ways. Instead, say people with experience in estate planning or division, the best way to avoid hurt feelings, lifelong rifts and even lawsuits is to include the children ahead of time, as the Miches did.
+'Personal effects are so freighted with emotional issues that the real battle is waged over who gets the photograph albums rather than the $30 million,' said Jon Gallo, an estate planning lawyer in Los Angeles who, with his wife, Eileen, a psychotherapist, conducts seminars on the emotional issues tied to family wealth.
+Family squabbles over belongings are nothing new, of course. But the questions are becoming more complex as the structures of many families change: How do you ensure that your stepchildren receive something special? If you remarry later in life, should Grandmother's crystal go to your new spouse or to your adult daughter?
+Though the subject can be touchy, experts say, parents and adult children should talk about the transfer of personal property and make some distribution decisions well before problems escalate.
+'It's absolutely acceptable for the parents to say, 'We have a lot of stuff here, and at some point, it's going to be yours, so let's talk about this now,'' said Linda Hetzer, co-author, with Janet Hulstrand, of 'Moving On: A Practical Guide to Downsizing the Family Home' (Stewart, Tabori & Chang, 2004). They wrote the book after helping their fathers move to smaller homes, and after talking with many families. If parents don't raise the subject, Ms. Hetzer said, grown children should dismiss any concerns about appearing greedy and broach the issue themselves.
+The discussions can go a long way toward averting misunderstandings, experts say. While some parents make no provision in their wills for personal possessions, others bequeath certain items without stating the reasons for their decisions. Either way, childhood conflicts can resurface.
+'It may play out as, 'They knew I wanted this and they gave it to my sibling, and this proves Mom loved you best,'' said Marlene S. Stum, associate professor of family economics at the University of Minnesota. 'It helps to explain to your children why you decided to give a gift to a caregiver or reward a child who helped out financially.'
+In 1999, the university extension service released 'Who Gets Grandma's Yellow Pie Plate' (www.yellowpieplate.umn.edu), a workbook and video intended to help families make decisions on passing on personal property; Dr. Stum was the lead researcher and author for the project.
+Because each family is different, no single system works for everyone. Some families agree that all members should get the same treatment -- to the point that each child receives the same dollar value of appraised items. But others may decide, for example, to give a little extra to the daughter who helped her parents the most, or to a nephew who is struggling financially.
+Once the subject is raised, a good way for parents to start is to ask the children if there are particular items they want. If a family is lucky, the wish lists won't overlap. Another popular method of distribution is a round robin in which family members take turns choosing objects.
+In one family, Ms. Hulstrand recalled, all the adult children placed colored stickers on items they wanted, and the parents kept track in a notebook. When an item had more than one sticker, the children worked it out. 'If someone thought one person was claiming too much, they could look in the notebook and see what was fair,' Ms. Hulstrand said.
+Parents can appraise items of financial value and separate them from those of purely sentimental worth; then the children make requests from one list at a time. That way, the silver service doesn't end up on the same list as the turkey-shaped salt shaker. It may be best for the parents to leave children's spouses or the grandchildren out of the decision making, even if parents eventually set aside special gifts for them.
+Parents may be surprised by some of the choices. 'They see their assumptions were off base,' Dr. Stum said. 'You may think Janey will love your thimble collection, but Janey may not care at all, and parents usually want possessions to go to someone who really values them.'
+A discussion also allows parents to share the history behind certain objects. 'The stories can make the things very special, and sometimes the stories are more important than the items,' Ms. Hulstrand said. Often, parents use such occasions to offer gifts early; the good dishes, for instance, might go to the child who has taken over the holiday dinners.
+Colleen Barney, an estate lawyer in Irvine, Calif., said parents should make a list of who is getting what, then make sure the will refers to it. By keeping the list separate from the will, parents have the flexibility to change their minds without having to rewrite the will each time.
+If you want to make gifts to people outside the immediate family -- friends, nieces or stepchildren -- make sure they are listed, said Ms. Barney, the co-author, with Victoria Collins, of 'Best Intentions: Ensuring Your Estate Plan Delivers Both Wealth and Wisdom' (Dearborn Trade, 2002). If you remarry and want to leave certain belongings to your children, she said, write it down.
+Such early decision making can be a big relief for children. A woman from Fairfield County, Conn., who asked that her name not be used, said that every time her mother bought a piece of jewelry, she would decide whether it would go to her or to her sister -- and would then record the choice on a list with two columns.
+When her mother died a decade ago, the two sisters divided the items accordingly. The list removed a burden at an already difficult time.
+'We didn't have to deal with choosing,' the woman said. 'She always tried to make things easy for her children.'
+QUICK READ  Here are considerations for dividing personal property in an estate:
+UNDERSTAND family members' attachments to certain possessions. Take your time, and encourage other family members to talk openly.
+DECIDE what is fair. Should everyone be treated equally, regardless of their contribution, need or marital status?
+SEPARATE financially valuable items from sentimentally valuable ones. If you and others want some of the same things, take turns choosing from each list.
+BE practical. Give the piano, for example, to a grandchild who likes music.
+DON'T make decisions immediately after a funeral. Let emotions settle.
+SUNDAY MONEY: PLANNING"
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+The Democrats came out of the political wilderness on Tuesday. The Republicans entered it.
+The Democrats set aside all the self-doubts, the years of feeling on the wrong side of history, the election nights when the proud party of Roosevelt, Truman and Kennedy seemed consigned to a painful irrelevance.
+Ahead is the challenge of governing, and the clear accountability that comes with controlling both Congress and the White House. No more political cover for the Democrats, no more room for fingerpointing between Capitol Hill and the White House, no more excuses.
+But the Republicans face the hard, brutal struggle of deciding who they are, resolving the tensions between moderates, conservatives, evangelical Christians, country-clubbers, supply-siders, suburbanites -- all the disparate elements held together by Ronald Reagan that collapsed under President Bush. Perot Over the Shoulder
+The task of both parties will be complicated by Ross Perot, who served notice this week that he has no intention of fading away.
+He certainly didn't fade in the voting on Tuesday. While he did not win a state, as George Wallace did when he captured five in 1968, Mr. Perot polled 19 percent of the popular vote nationwide, compared with Mr. Wallace's 13.5 percent.  And while that showing was certainly stoked with Mr. Perot's money, people in both parties worried that it was also fueled by a disaffection with the parties themselves.
+But Democrats were not much given to worries this week. It would be hard to exaggerate their euphoria, especially the generation in its 30's and 40's that spent its adulthood out of power, told again and again that it was ""out of the mainstream.""
+""It was like having been a member of a religious minority in a country with a state religion,"" said David Dreyer, communications director for Representative Richard A. Gephardt of Missouri, the House majority leader. Rethinking a 'Lock'
+Ronald H. Brown, the chairman of the Democratic National Committee, gleefully announced that the Republican ""electoral lock"" on the White House was ""broken forever."" Allowing for overstatement, the Republicans' aura of invinicibility -- which was very real in the 1980's -- was certainly gone.
+Mr. Clinton carried the popular vote in the East, the Midwest and the West, and fought Mr. Bush to a standstill in the popular vote in the South, the region that was the basis of the Republican ""electoral lock."" He held the party's base, bought home many of the Reagan Democrats and struck deep into the suburbs and the ranks of independents and moderates.
+Centrist Democrats viewed the Clinton candidacy as a vindication of their long struggle to push the party to the center, to broaden its base and reconnect with the middle class, to shatter the view that the party was a mere collection of liberal constituent groups. But the Rev. Jesse Jackson, a principal spokesman for the party's left, asserted yesterday that Mr. Clinton's victory was largely a result of broader forces: a bad economy, the votes of blacks energized by black candidacies this year and the mobilization of women by what he calls ""the Anita Hill factor."" Understanding the Stakes
+Those tensions will remain in the party, and will become more than debating points when Mr. Clinton takes office and begins to make policy on trade, welfare, education, jobs and taxes. Some Republicans took a little quiet pleasure yesterday in predicting the ideological tugs and pulls of a Clinton Presidency, particularly as they will play out in the Administration's relations with Congress.
+But Stan Greenberg, Mr. Clinton's poll taker and a principal strategist for his campaign, said both Congressional Democrats and Mr. Clinton understood the stakes and the responsibilities of one-party government.
+""Congressional Democrats understand they're on the line, and the Clinton Administration will understand it. There has to be movement,"" Mr. Greenberg said.
+Hanging over both is the memory of the last Democratic Administration, when relations between President Jimmy Carter and the Democratic-controlled Congress were hardly a model of partisan cooperation, for which both paid a price. Clouds Over Republicans
+Republicans, for their part, face a much more fundamental task, as any Democrat who tried to pick up the pieces after 1980, 1984 and 1988 will attest. Their long hegemony in Presidential politics is over, and it did not leave the lasting gains in Congress or below that many Republicans had hoped for. Their political professionals seem sapped by the long, enervating campaign of Mr. Bush, and the exit polls carried chilling news, notably the strength of Mr. Clinton among the young.
+The faultlines in the party are clear, beginning with the social agenda of the religious right, including abortion. And ahead lies the challenge of finding a new governing conservatism that can regain the loyalties of voters who seem to demand a new domestic agenda and who simply seemed to lose faith with the Republicans on the economy, as they lost faith with the Democrats 12 years ago. All of this will play out in the early jockeying for 1996. Appeal to Perot
+Many Republicans are expecting a fight as the party enters its wilderness sojourn. ""The first verbal assault will come from the right, which will argue that if the Republicans were just purer, they'd be in no trouble,"" said Representative Jim Leach, a moderate Iowa Republican. ""The second assessment, from the more mainstream and the public at large, will be that the party has become too co-opted by narrow groups.""
+Mr. Leach added, ""I personally think a great challenge for the party will be to establish a sense of tolerance.""
+The battle for control of the party could begin this winter, around the chairmanship of the Republican National Committee.
+In the midst of all this is the Perot factor.
+If the exit polls showed anything on Tuesday, they showed that Mr. Perot is a force to be reckoned with by both parties; he drew roughly equally from both.
+Mr. Clinton clearly recognizes that, making a gesture of outreach Tuesday night to the Perot supporters on the issue of government reform and ""reducing the influence of the special interest,"" one of Mr. Perot's favorite themes. ""I will work with him to do that,"" Mr. Clinton said.
+The major parties have long adapted to -- and co-opted -- third forces in politics, many analysts note. But not many third forces have behind them the Perot fortune, which this year proved to give Mr. Perot's movement considerable staying power.
+Kevin Phillips, the conservative analyst, suggests that Perot backers could become major players in the struggle for control of Republican parties in some states.
+It is all part of the mix of the politics to come.  THE 1992 ELECTIONS: THE WORLD -- NEWS ANALYSIS"
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+The lawyer for a former doctor accused of lying about his criminal record to get a job at the Veterans Administration Hospital in Northport said today that she was trying to negotiate a plea deal and did not expect the trial to begin on Monday as scheduled.
+The lawyer, Randi Chavis, represents Michael Swango, who went to prison in the 1980's for poisoning co-workers in Illinois and who now faces Federal charges of fraudulently obtaining a residency in psychiatry at the veterans hospital.
+Mr. Swango faces up to 25 years in prison if convicted of all the charges, which also include illegally prescribing narcotics to patients. No patients were harmed by the prescription medications, law enforcement officials said.
+Ms. Chavis said today that she was trying to negotiate a deal with Federal prosecutors that would substantially reduce any time in prison Mr. Swango might have to serve.
+Cecilia Gardner, who is prosecuting the case, declined to comment. The case is scheduled for 9:30 A.M. Monday before Judge Jacob Mishler of the Federal District Court in Uniondale.
+According to prosecutors, Mr. Swango, using an alias, enrolled as an intern in psychiatry at the University Medical Center at Stony Brook in July 1993 and was assigned to the veterans hospital. He was expelled from the program on Oct. 13 of that year when officials of the medical center learned of his criminal record.
+He left this area, but was arrested last summer at O'Hare Airport in Chicago as he was about to leave for  Saudi Arabia to work as a physician. Since his arrest, he has been held without bail at the Federal Detention Center in Brooklyn.
+Mr. Swango, a 1983 graduate of the medical school at Southern Illinois University, was convicted in 1985 of putting ant poison containing arsenic in the doughnuts and coffee of co-workers while working as a paramedic in Quincy, Ill. Five people fell ill as a result. He served two years of a five-year prison term for aggravated battery. The judge in the case speculated that Mr. Swango did not intend to kill his co-workers, but wanted to observe their reactions to the poison.
+While in prison, Mr. Swango came under investigation in connection with the deaths of several patients during his internship at Ohio State University's College of Medicine in Columbus, where he worked from July 1983 to June 1984. Ohio authorities later concluded that they had circumstantial evidence to link him to the deaths, but not enough to bring criminal charges.
+In 1992, Mr. Swango was admitted to the University of South Dakota's residency program, but was dismissed within months after admissions officials found he had lied about his criminal record. While enrolled in the residency program, Mr. Swango treated patients at three hospitals, with no record of complaints.
+When officials in South Dakota learned that Mr. Swango had obtained a position at Stony Brook's medical school, they contacted its dean, Dr. Jordan J. Cohen, and told him of Mr. Swango's past.
+Dr. Cohen dismissed Mr. Swango and subsequently accepted the resignation of Dr. Alan Miller as director of the residency program for Stony Brook's department of psychiatry. Dr. Cohen said Dr. Miller had failed to verify statements Mr. Swango  made in his application.
+'He's a charming, pathological liar,' Dr. Cohen said of Mr. Swango in an interview with The New York Times in 1993. 'We should have been more alert.'"
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+The New York State Health Department cited Staten Island University Hospital yesterday for 40 violations and fined the hospital $80,000 for failing to monitor and discipline its chief of neurosurgery, who the state said had operated on the wrong side of a patient's brain for the second time in five years.
+The state's action was the harshest penalty and stiffest fine it had imposed on a hospital in 15 years.
+In January, the neurosurgeon, Dr. Ehud Arbit, bungled a cranial procedure on a severely ill Staten Island patient who then died, Health Commissioner Antonia C. Novello said at a news conference yesterday. The doctor has surrendered his license.  He was fired from Memorial Sloan-Kettering Hospital in 1995 for operating on the wrong side of a patient's brain after confusing two patients.
+While the state investigation did not conclude that Dr. Arbit's surgery caused the death of the Staten Island  patient, it said that one other patient of his had died after a questionable procedure, and that others had become disabled. In several instances, the state said, the hospital did not report any of the medical errors, as it is required to do, and violated several provisions of New York's health laws.
+In addition to the fine, which the state said could not be appealed, Dr. Novello ordered the Staten Island hospital to hire an outside consultant to monitor quality of care there.
+The hospital issued a statement yesterday, in which it said it had cooperated with state investigators and would work to improve its monitoring system, in neurosurgery and throughout the hospital. It said it was preparing a line-by-line response to the state's findings.
+Dr. Arbit's lawyer, Anthony Scher, said last night: 'There was an investigation into this issue and it is absolutely clear that he did not operate on the wrong side of the brain. I have not seen the state report, but it seems to me that they also understand that that is not the case.'
+Several of Dr. Arbit's colleagues said in interviews that he had been unfairly maligned by other hospital workers as a result of political battles within the hospital.
+The state began its investigation after receiving several complaints. It issued its findings yesterday in a strongly worded 23-page report outlining many allegations, all stemming from surgical procedures performed by Dr. Arbit.
+Investigators found that Dr. Arbit and the hospital failed to prepare for surgery properly. The state also cited the hospital for its decision to allow physicians' assistants to take  critical roles during surgery, performing duties that the state said  should have been done by doctors. In one case, the state said, Dr. Arbit sought the medical advice of a salesman for spinal plates during an operation that was going badly. (The salesman, who was observing the surgery, declined to answer.)
+Dr. Novello's investigators also outlined gruesome details of what it said were botched surgeries. In the case involving surgery on the wrong side of the brain, state investigators found that a 54-year-old patient, with  illnesses including brain and lung tumors, liver disease, diabetes and  pancreatitis, went into the operating room but his CAT scans were not brought in with him, and that Dr. Arbit made an incision on the left cerebellum, only to be told by a physician's assistant that she recalled that the tumor was on the right side.
+Dr. Arbit told state health investigators that he had intended all along to remove the entire back of the skull, and that the side of the placement of the first incision did not matter. He asserted that he followed acceptable neurosurgical standards, the report said.
+The patient, identified by those familiar with the case as Johnnie Artis, a security supervisor from Staten Island, fell into a coma and died on Feb. 2.
+Aside from that case, the most serious allegation in the state's report involved treatment of a 21-year-old patient with a brain tumor who was left to bleed excessively, the state said. The doctor switched from performing a biopsy to brain surgery, catching other staff members  off guard and ill prepared.
+Because the anesthesiologist had not anticipated more than a biopsy,  he had not prepared to replace large quantities of blood, the report said. A second surgical procedure was necessary to stop the bleeding, and,  'The patient was unresponsive after surgery and died several weeks later,' the report said.
+Another case involved a patient requiring spinal surgery. An anesthesiologist and a physician's assistant told Health Department investigators that Dr. Arbit's hand slipped and lacerated the patient's spinal cord, leaving her partly paralyzed, the report said.
+In another instance, the doctor and his staff failed to perform proper follow-up blood work on a 62-year-old patient, placing her at risk when she underwent additional surgery, the state found.
+In the case involving the equipment salesman, a patient complained of weakness in her hands after an operation. A CAT scan revealed loose screws on a plate that had been implanted in the patient's spine along the back of the neck, the state noted. Dr. Arbit failed to replace the screws properly, the state said, at one point asking the salesman whether he thought the plate was positioned correctly.
+These medical errors so disturbed the hospital's chief neurosurgery anesthesiologist that he refused to work with Dr. Arbit and complained to hospital officials, who declined to take action, the state said.
+The state rebuked the hospital for failing to report these incidents and for failing to deal with them properly in internal reviews.
+'Our investigation found an alarmingly high number of deficiencies in the hospital's controls and procedures that need to be in place to ensure patients receive proper care,' Commissioner Novello said. 'Worse yet,' she added, the hospital failed to notify the state of any worrisome cases, nor did it move to discipline the doctor or properly investigate the cases when alerted of them.'
+In its statement, Staten Island University Hospital officials said they would begin instituting new monitoring procedures to ensure patient safety and quality of care within the next few days. But the hospital cautioned that the state's Office Of Professional Medical Conduct, which  disciplines doctors, had yet to complete interviews with everyone involved or to finish its investigation of Dr. Arbit.
+Dr. Novello's announcement of stiff fines and a slew of health violations yesterday underscored her decision to make the disciplining of doctors and the monitoring of care at hospitals a hallmark of her tenure, which began in June. New York State has only twice suspended doctor's licenses before an investigation is complete, both times in the last few months.
+Dr. Arbit surrendered his license on Feb. 18. The other doctor who surrendered his license while being investigated was Dr. Allan Zarkin, who admitted to carving his initials into the belly of a patient on whom he had performed a Caesarean section last fall.
+Dr. Novello's tough stance comes as President Clinton is pressing states to adopt strict regulations for reporting medical errors, after a recent report that found that medical errors kill hundreds of thousands of people each year.
+'I want to be perfectly clear,' Dr. Novello said yesterday. 'When and if the Department of Health finds that a hospital is not operating up to high standards, we will move swiftly and decisively.'
+The state began its investigation into Staten Island University Hospital on Feb. 9, when it received complaints that Dr. Arbit had operated on the wrong side of Mr. Artis's brain. When state investigators called the hospital, Dr. Novello said, its administrators told them 'it was a rumor,' she said.
+The state made an unannounced visit to the hospital the next day, during which several hospital staff members volunteered information about the surgeries, Dr. Novello said. A week later, investigators returned and found corroborating evidence, she said. Last Friday, the state concluded its 'intensive investigation' into the hospital, the commissioner said, concluding that 'serious quality problems' existed.
+Dr. Arbit was chief of neurosurgery at Memorial Sloan-Kettering Cancer Center when he mistakenly operated on the healthy right side of the brain of Rajeswari Ayyappan, 59,  the mother of an Indian movie star, Sridevi Ayyappan. A cancerous tumor had been found on the left side of her brain.
+After the error was discovered, the patient, who had gone to the hospital with a very poor prognosis, had the tumor removed at New York Hospital-Cornell Medical Center. She later died in India, and Dr. Arbit was fired from Sloan-Kettering. The state gave him one year's probation in that case. But he quickly found work at Staten Island University Hospital, which has been trying hard to raise its reputation from a community hospital to a world-class cancer center.
+Hiring Dr. Arbit was part of that grand plan, several doctors at the hospital said. Before the incident at Sloan-Kettering, Dr. Arbit had a polished reputation in his field as the author of textbooks and an authority on neurosurgery.
+He is known for taking on last-resort patients in a field that has few happy stories, and for caring for the poorest of the poor as well as the wealthy, More than a dozen patients have telephoned to express support for Dr. Arbit.
+The last time a hospital was fined so much money was in 1986, when Harlem Hospital faced a $125,000 fine for allowing an unlicensed physician to perform a routine operation in which complications developed that led to the amputation of a patient's leg. The State Health Department eventually suspended $86,000 of the penalty."
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+The funk musician GEORGE CLINTON and his family have been ordered to leave their 200-acre Michigan farm in a dispute over unpaid rent, The Associated Press reported.
+Mr. Clinton, who bills himself as 'Dr. Funkenstein' and wears multicolored dreadlocks and moonwalk boots in performances with his P-Funk All-Stars band, has lived on the farm in Adrian, 90 miles southwest of Detroit, since 1980.
+The property's owner, the music executive Armen Boladian, was charging $8,500 a month for the land. Mr. Clinton said he believed that Mr. Boladian was paying his rent to make up for $15 million in song royalties Mr. Boladian owed him.
+NADINE BROZAN
+CHRONICLE"
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+Five winters ago, Lowell P. Weicker Jr. moved out of the Connecticut governor's mansion, apparently ending a 30-year career as one of the nation's best-known political mavericks. At 6 foot 6 and with a voice to match, he had tormented the Republican Party from within as a United States Senator, then led Connecticut as that uncommon American political animal, an independent.
+After leaving Hartford, he settled into life as the lord of Applejack Farm, a former orchard in this town of private drives and tradesmen's entrances, taking plenty of time away for tennis, bird-watching and scuba diving with his seven sons and seven grandchildren. But he never lost his taste for the game that had been his life. He flirted with running for President as an independent in 1996, drawing national headlines, then backed away.
+Now, strategists for Gov. Jesse Ventura of Minnesota are trying to entice Mr. Weicker to offer himself as a Reform Party nominee for President. And Mr. Weicker, 68, sounds very much like a man who is willing to be enticed. In a conference call last week, he gave two of Governor Ventura's top aides permission to promote his candidacy as they prepared for a Reform Party national convention later this month.
+The result could be an entertaining clash of egos in a Presidential race that had begun to look like it might be short on surprises. Ross Perot, the Reform Party's nominee in 1992 and 1996, has remained coy about his own plans for 2000. His support dropped from 19 percent of the vote in his first election to 8 percent last time.
+So Governor Ventura, the former professional wrestler whose upset victory as a Reform Party candidate last November gave new hope to independents everywhere, has argued that the party needs new leaders if it is to grow. Working a second front, Mr. Ventura has endorsed a veteran of the term limits movement to replace the current party chairman, Russell J. Verney, a longtime lieutenant of Mr. Perot.
+Mr. Weicker's prospects within the Reform Party may depend on the ferocious internal battle that leaders expect at the party's convention, to be held in Dearborn, Mich., from July 23 to 25. As part of his mission, Governor Ventura encouraged Mr. Weicker to run for President during a meeting in Manhattan last month, according to aides to both men. The meeting had been scheduled for half an hour and stretched to more than three, participants said.
+'Would I like to run?' Mr. Weicker asked last week as he relaxed on his sun porch in a wrinkled French-cuff shirt with no cuff links. 'Yes, sure -- it's been my business, and I still think I'm pretty good at the business.'
+Unprompted, he began reciting the pros and cons. 'Do I care about the fact that you might get your head handed to you?' he asked. 'Doesn't bother me -- never has. The opportunity to set a national dialogue on important subjects -- that's hugely appealing. I'm not afraid of handling myself, not afraid of the crunch -- not afraid of the campaign. What's the other side of the coin? I'm enjoying my family and enjoying a life style that I haven't had in my whole adult life.'
+Family may not prove much of a hurdle. Mr. Weicker's 21-year-old son, Sonny, teased his father, 'Dad, you're running again.' Mr. Weicker cautioned, 'We don't know that, son.'
+His wife, Claudia T. Weicker, 52, a former Democratic aide on Capitol Hill, said she was trying not to think about it, but seemed ready. 'Is there a void?' she asked. 'Yes, there's a void. There need to be people spending more time advocating the cause of our children and of our minorities.'
+Several Reform Party officials said that although Governor Ventura has said he does not plan to run for President next year, he wants the Reform Party to field a credible candidate who will attract at least 5 percent of the vote, preserving the party's Federal financing and ballot status so he can run in 2004.
+But the main motive for boosting Mr. Weicker, according to Douglas E. Friedline, who was Governor Ventura's campaign manager and now handles his licensing deals, is to give the Reform Party a face besides that of Mr. Perot. 'Perot got us where we are, but now he's a liability,' Mr. Friedline said. 'Governor Ventura feels we need new leadership if we're going to grow.'
+Supporters of Mr. Weicker contend that an independent should have broad appeal this year -- partly because of what they believe will be a backlash against the ravenous fund-raising by Gov. George W. Bush of Texas, the leading Republican candidate, and partly because of disgust with the behavior by President Clinton that led to his impeachment in December.
+Mr. Weicker, who endorsed Mr. Clinton in both his Presidential races, said he favored conviction on the articles of impeachment because the President apparently had lied in a legal proceeding.
+'Right now, the country has to rebuild its faith in the Presidency,' Mr. Weicker said.
+Dean M. Barkley, who was chairman of Governor Ventura's campaign last year and remains a close adviser, said Mr. Weicker would be the most promising candidate short of Colin L. Powell, the retired general, who said through a spokesman that he still had no plans to seek any national office.
+'Lowell Weicker shares with Governor Ventura the ability to speak from the heart and to show people that he understands their disgust with the political establishment,' Mr. Barkley said, adding that he hoped Mr. Weicker would 'run against the political process itself.'
+Based on the vote Mr. Perot received as the Reform Party's Presidential nominee in 1996, the party qualifies for $13 million in Federal funds for the general election, and can automatically be on the ballot in at least 19 states. Political analysts said that a Reform Party candidate could throw the outcome of the Presidential race in almost any state into doubt by attracting at least 10 percent of the vote.
+Governor Ventura sent an E-mail message to the roughly 400 delegates last week endorsing a retired financial consultant, Jack Gargan, 68, for chairman to replace Mr. Verney. Mr. Gargan announced that one of his first steps would be to move the party headquarters from Dallas to his home state, Florida, which was seen as a signal that Governor Ventura was trying to take control of the party from Mr. Perot's forces.
+Mr. Verney, the current chairman, said he has not decided whether to run again. Mr. Perot was traveling and could not be reached for comment, his spokesman said.
+Reform Party leaders said that aside from Governor Ventura, General Powell and Mr. Weicker, the party's wish list for Presidential candidates is short. The only other names that came up during more than a dozen interviews were former Senator Bill Bradley of New Jersey, who now is seeking the Democratic nomination, and B. Thomas Golisano, the Independence Party candidate for governor of New York in the past two elections.
+Mr. Weicker is already encountering some static within the Reform Party, in part because he has never been associated with the movement. Some members are trading E-mail  sniping at Mr. Weicker as being too establishment for their taste.
+That notion might surprise those who remember him as the 'Watergate white knight,' who conducted his own investigation into wrongdoing by President Nixon, a fellow Republican.
+After leaving public life, Mr. Weicker served for three years as a visiting professor at the University of Virginia, his law alma mater. He serves on six corporate boards and heads a study of possible links between environmental conditions and health problems, including asthma.
+Mr. Weicker, who swims at 6:30 each morning at the Y.W.C.A. in Greenwich, said he wants to insure a centrist, independent option for voters. In his comments, a supporter might -- just might -- hear the early rumblings of a stump speech.
+'The only way you're going to shape up American politics is by a third force, nationally,' he said. 'Politics -- the intellectual business -- is no different than the economic business. When you have an economic monopoly, you get high prices and bad products. You've got an intellectual monopoly in this country, and you've got bad ideas and bad candidates.'"
+False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,True,True,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,True,True,False,False,True,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,True,True,False,True,True,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,True,True,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,True,False,False,True,False,True,False,False,True,True,False,False,True,True,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,True,True,True,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,"The Neediest Cases; Seeking Tranquillity as the Last Hope
+Allim Khan emigrated from British Guyana in 1975 and worked furiously, as a factory worker, a taxi driver and a real estate entrepreneur. By 1992, he finally had the money to buy an elegant home for himself, his pregnant wife and their first child, a son.
+'It was an immaculate house,' said Mr. Khan, 41. 'A duplex with a winding staircase, and three bedrooms upstairs. It was an English Tudor. It was the real McCoy.'
+But Mr. Khan was not able to enjoy his achievements: Just months after moving into the house, in Fresh Meadows, Queens, he began to suffer delusions. Mental illness claimed his day-to-day existence, and finally, he succumbed. He spent the next six years in and out of psychiatric wards around New York City.
+Now he lives alone in a one-bedroom apartment in Queens, and he is thankful to have even that. Last year, Mr. Khan had a nervous breakdown and stopped paying his rent. He was hospitalized for several weeks, and when he was released, he returned home and found an eviction notice.
+Social service workers at his hospital reached out to charitable groups. The Federation of Protestant Welfare Agencies, one of seven charities supported by the Neediest Cases Fund, paid $561 of his back rent, which enabled him to keep his home.
+'Here was a man who had everything and lost everything, and we did what we could to help him hang on to one little piece of his world,' said Judy Milone, director of client services at the federation.
+Mr. Khan now receives disability payments, so he is able to pay his rent. On a recent afternoon, he sat on his couch and remembered how it had all gone wrong. As he spoke, dressed in blue jeans and a tank top and with bare feet, his eyes occasionally roamed to the dusty suits and ties that hung in his closet.
+His recollections are jumbled, but he knows how paranoid he became.
+At first he thought that other drivers on the road were staring at him. He also feared that his phone was tapped, and that characters from his television set were going to leap out and kill him.
+Mr. Khan had ample savings, but he had no insurance, and as he drifted in and out of mental hospitals, his nest egg dwindled to nothing.
+Unwelcome at home, he slept wherever he could for a few nights at a time. Eventually, Mr. Khan said, his wife left him and took the children with her.
+'That's what hurts the most,' he said, as tears appeared in the corners of his eyes.
+Moments later, he opened a photo album. In one picture, he stands with his wife beside a three-tier wedding cake. In another, their sons lean against the family station wagon during a vacation at Lake George.
+Mr. Khan has little more than memories to keep him going now. He is bored at home and wants to work, but his doctors have warned him that his delicate mental condition, high blood pressure and angina would all be aggravated by additional stress.
+So Mr. Khan takes his medication for all those conditions, and he prays five times a day. Instead of the old Elvis Presley records he used to love, he plays religious tapes to soothe himself.
+When asked what he prays for, Mr. Khan answered simply. 'I pray that I never lose my mind again.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these  organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station, P.O. Box 4100, New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded $2,059,728.86  Recorded yesterday 92,329.20
+Total $2,152,058.06"
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+Investors seeking advice on how to extend their losses may want to call the Sigma Financial Corporation, a brokerage firm in Ann Arbor, Mich.
+Regulators punished Sigma and its president, Jerome Rydell, last week for waging a long campaign of legal harassment against a retired couple, Jimmy L. Shawver and Evella J. Shawver. Ever since the couple, former clients, won a $318,096 arbitration award against the firm in 2001, Sigma has been suing them to get the money back, the NASD said.
+Though judges deemed its claims frivolous, Sigma took its case all the way to the Michigan Supreme Court. The NASD finally persuaded Sigma to stop, pay a $135,000 fine and reimburse $110,000 that the Shawvers had spent defending themselves. Sigma's bill is now $564,596 plus its own legal costs.
+'The firm's culture is to remain on the right side of the rules,' Mr. Rydell said, 'and in this instance we had inadvertently fallen short of our own high standards and the governing rules.'
+Barry Goldsmith, the NASD's chief of enforcement, said, 'Cases like this sort of stick in our craw.'
+Patrick McGeehan
+OPENERS: SUITS"
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+When the fall quarter began at Ohio University here, university officials hoped to put the troubles of last year behind them. Those troubles included accusations that more than 20 mechanical engineering students, some of whom had graduated nearly 20 years ago, had plagiarized their theses; a series of computer security breaches; faculty layoffs; and a no-confidence vote in the university's president, Roderick J. McDavis.
+'It's unfortunate that all these problems happened at the same time,' Dr. McDavis said in a recent interview. 'But now our university is presented with great opportunities for positive change.'
+But it seems that as soon as Dr. McDavis reacts to one scandal, a new one emerges. Last week, as university officials prepared for tomorrow's 'Day of Discourse' to address ways to prevent plagiarism, new accusations were made in the student newspaper against its business school.
+In an article, a marketing professor, Ashok K. Gupta, accused the university's M.B.A. program that it offers at Christ College in Bangalore, India, of selling degrees for cash. Mr. Gupta later accused the dean of the university's college of business of using a philanthropic endowment as a slush fund to reward his friends with $500,000 in improper pay.
+The dean, Glenn E. Corlett, called Mr. Gupta's contentions 'frivolous and ridiculous.' Still, Mr. Gupta's accusations will most likely start another round of internal investigations, Mr. Corlett said.
+Ohio University is a public institution of 16,700 students in southeast Ohio. This year, U.S. News & World Report ranked the university No. 110 on its list of the top 124 universities in America.
+So far, the scandals have not hurt the university's ability to raise money. This spring the journalism department received a $15 million donation from the Scripps Howard Foundation, the largest cash gift in the university's more than 200-year history. A new $60 million university center will open in January.
+But outsiders are astonished by the cascade of problems. 'It certainly has raised a lot of eyebrows,' said John H. Skillings, vice provost for academic affairs at Miami University in Oxford, Ohio. 'Around the country there are lots of people wondering what's going on at Ohio University.'
+The first hint of trouble came in May 2005, when the student newspaper, The Post, published an article in which a graduate student, Tom Matrka, accused more than 20 mechanical engineering students of copying without attribution lengthy sections of their masters' theses from previous theses.
+Doing research in the university's library, Mr. Matrka said he eventually found more than 30 papers containing what he believed was plagiarized material. Some students had copied as many as 12 pages straight, he said, and others had copied sections including typos and misspellings.
+For more than a year, Mr. Matrka said in a recent interview, university officials did not address his calls for action.
+Dennis Irwin, the dean of Ohio University's Russ College of Engineering and Technology, agreed that official response was slow. But he explained that was partly because some of those suspected of plagiarism had graduated as long ago as 1986, and the university's plagiarism policies applied only to matriculating students, not alumni.
+The university has created a faculty committee to investigate each accusation starting next month. David C. Ingram, a physics professor who is chairman of the committee, said the group's task is to decide whether to require students and alumni to resubmit their theses in their own words or to revoke their degrees.
+Later that year, in November 2005, tensions between students and the administration grew when the university's football coach, Frank Solich, was arrested after the police found him slumped in his car, which was pointed in the wrong direction on a one-way street, according to court records in Athens. Mr. Solich pleaded no contest to drunken driving, the records said.
+Dr. McDavis had recently introduced tough rules to combat student drinking at the university, and students who broke the rules faced probation, suspension or expulsion for their first offense. (The university was named the sixth-best party school this year by Princeton Review, a company that sells college preparatory materials.)
+But students said they felt that the university had let Mr. Solich off easy when his punishment consisted of participating in alcohol education programs on campus. He also promised not to engage in any illegal behavior for the remaining four years of his contract.
+Mr. Solich declined to be interviewed for this article.
+'The message to students was: Don't get caught drinking unless you're the football coach,' said Kevin M. Mattson, a history professor at Ohio University and president of the local chapter of the American Association of University Professors.
+(Mr. Solich returned to court this summer seeking to change his plea to not guilty, saying that someone had slipped GHB, known as the date-rape drug, into his drink, causing him to appear drunk, said his lawyer, Sam Shamansky. A judge denied his request.)
+Then in late April, the university announced that hackers had gained access to several university computers, some of which contained students' personal information. Weaknesses in the school's computer networks allowed hackers access to a server that held the Social Security numbers of 137,00 people, but it is still unclear whether any have been used illegally, said the university's spokesman, Joe Brennan.
+A consulting firm hired by the university found that the breaches were caused largely by the technology department, which it said had few staff members capable of building secure networks.
+Meanwhile, the university is facing a $9.3 million budget shortfall for 2007, with deficits projected to rise in later years, Dr. McDavis said. The administration eliminated 121 positions, including 14 nontenured faculty jobs, as part of its effort to trim $14.4 million from the university's $557 million budget.
+Those cuts, plus anger over what many faculty members perceived as Mr. McDavis's top-down leadership style, prompted the professors association to mail surveys to 850 faculty members asking them to rate Mr. McDavis's performance.
+Among respondents, 72 percent said they had no confidence in the president, said Mr. Mattson, who is trying to persuade the university's trustees to give faculty members an official role in evaluating the president.
+But even as Dr. McDavis races to keep up with the latest crisis, he says he is trying to keep matters in perspective.
+'Is this a meltdown? Absolutely not,' Dr. McDavis said. 'Would I like a little more time to deal with each of these problems? Absolutely.'
+Correction:  October 4, 2006, Wednesday  An article last Wednesday about Ohio University and its recent problems, including accusations of plagiarism against mechanical engineering students, misstated the number of students at the university. It is 28,287 -- not 16,700, which is the number of undergraduates. The article also misstated the beneficiary within the university of a $15 million donation from the Scripps Howard Foundation. It was for the College of Communication, not just for the journalism department within that college.
+Because of an editing error, the article also referred incorrectly to the university's 2007 budget. Although a $9.3 million shortfall was projected, the budget was balanced with cutbacks."
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+A Secret Service raid of a Queens warehouse on Monday broke up what recording industry experts are calling the largest music CD counterfeiting operation ever, capable of churning out six million discs a year.
+The raid of a 2,000-square-foot factory in Long Island City was the result of a two-month investigation by the Secret Service, which enforces copyright law, and former law enforcement officials working for the Recording Industry Association of America, said Frank Creighton, head of the antipiracy division of the organization, a trade group.
+The seizure of 35,000 illegally copied music discs, 10,000 movies on DVD, 421 interconnected disc burners and expensive printing equipment made it the largest raid in the more than 30 years the trade group has been tracking such seizures, Mr. Creighton said.
+The company supplied illegal copies of CD's and DVD's to distributors along the Eastern Seaboard and in the Midwest, Mr. Creighton said, but was also a major supplier for illegal Canal Street peddlers.
+'It is the largest manufacturing operation involving CD-R manufacturing technology to date that we have come across,' Mr. Creighton said.
+Three men were arrested, including Zhong Rong Chen, who investigators identified as the head of the counterfeiting operation. Two of his employees, Angel Ivan Espinoza and Mario Perez Flores, were also charged, investigators said.
+The building where Mr. Zhong's factory was located, on 37th Street in Long Island City, has mostly garment manufacturers and artists' lofts. People who work in the building were rattled when a crowd of officers battered down the door to the second-floor loft Monday.
+Mr. Zhong was quiet and secretive, a factory manager said. 'Sometimes he would come to work when we were leaving,' the man said. 'We thought maybe he was trading overseas or something.'
+In recent years the trade in counterfeit CD's and DVD's has become more competitive and as a result more violent, leading to two shootouts in Midtown Manhattan, one of which left a Guinean immigrant dead last month.
+Mr. Creighton said that his organization focuses on breaking up counterfeit operations, especially around the holidays, when people flood the streets of New York City looking for bargains. But as the recording industry has struggled with slumping sales in the last two years, and because technology makes mass production of flawless copies easy, piracy has become a larger problem."
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+When Diahn Taylor, 38, decided to become a surrogate mother, she didn't know that she would be carrying twins or that this pregnancy would be harder than those that produced her own three children. But she made a commitment to a couple through an agency (and received a $21,000 fee). After seven weeks of bed rest, she gave birth to a boy and girl in May. Taylor then volunteered to ship her breast milk from her town of Paola, Kan., to the twins about 500 miles away. 'I wanted to give them a good start, like I did with my own,' she says.
+Taylor stores the milk in her freezer in 20-ounce, presterilized water bottles she buys in bulk. When she returned to work as a third-grade teacher, she started out pumping every four or five hours when her students were in art or gym class. She's now down to once a day.
+Taylor collects about 300 ounces of milk before mailing it in a Styrofoam cooler once a week. She often checks in with the parents, who pay for the shipping but not for her added time.
+It used to be up to her husband, Kenny, to lug the package of milk to the post office. But since he had surgery, she does the heavy lifting. Postage usually costs about $75.
+Taylor doesn't miss the babies, but says she will miss the routine: 'I've gotten so used to the pumping. It'll be weird to stop.' She and Kenny plan to try for their fourth child soon.
+LIVES"
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+No Dead Air Here: D'Amato vs. Koch
+Two of New York's most outspoken, out-of-office politicians are getting themselves a second soapbox. EDWARD I. KOCH and ALFONSE M. D'AMATO plan to go face to face on the radio.
+That is perhaps an Osgoodian way of describing what could turn out to be a more Limbaughian type of encounter beneath the 'on air' sign.  'Al and I are good friends, but we often disagree on candidates and issues,' said Mr. Koch, who was mayor from 1978 to 1989. 'We disagree civilly and with good humor -- so what if on occasion I make him cry?' For his part, Mr. D'Amato, the former senator, said, 'There's nothing I love more than duking it out with my good friend Ed Koch.'
+The five-minute segments on Saturdays starting Sept. 9 on WBBR-AM (1130) are not their only collaboration. Since March, they have been preparing a twice-a-month column -- these columnists do not write, they talk into a tape recorder -- for New York magazine titled 'I'm Right, You're Wrong.'
+So what advice does MAER ROSHAN, the deputy editor of New York magazine and coordinator of their column, have for ANTHEA RAYMOND, who will be the moderator of their radio chats?
+'Interrupt them frequently and feed them lots of cosmopolitans,' Mr. Roshan said, referring to what he called Mr. D'Amato's drink of choice.
+Pete Seeger Has Lyme Disease
+First it was a missing banjo, which was returned last week, a couple of weeks after it disappeared (a self-employed painter had noticed the folk singer PETE SEEGER'S name on the case when he found the instrument, but said 'it was just another name to me').
+Now comes word that Mr. Seeger, 81, has Lyme disease.
+His wife, TOSHI, told The Associated Press that he had received the diagnosis after feeling sick lately.
+'We have ticks in the area' near their house in Beacon, N.Y., she said. There was no answer at the house last night; she told The A.P. that Mr. Seeger did not plan to cancel any performances.
+Bronx Gorilla Man To Minnesota Zoo
+On the Minnesota Zoo's automated telephone directory, one of those systems with a mechanized voice that instructs a caller to spell out the name of the person he or she wants to reach using the keys on the telephone, punching 'Ehmke' yesterday set off a message that said those letters 'do not spell a recognized name.'
+It was only LEE EHMKE'S first day as director.
+Mr. Ehmke moved to the Midwest after overseeing the $50 million Congo Gorilla Forest exhibition at the Bronx Zoo, an African rain forest habitat populated by 19 gorillas and other jungle creatures. He turned down a promotion to assistant director ('flattering and tempting,' he said yesterday) to take over a 22-year-old zoo in Apple Valley, Minn., that he said 'needs some refreshing.'
+'I couldn't agree more that we need exhibits with a bit more wow appeal,' Mr. Ehmke said. The Minnesota Zoo has room to grow, what with more than 100 acres that could be developed, making it what he called 'one of the most beautiful palettes a zoo designer could ever think of working with.'
+But yesterday was only his first day on the job. 'I feel like I've parachuted in,' he said. 'I'm still waiting for my furniture and clothes to arrive.'
+He said that he had arrived in Minnesota 10 days ago, planning to settle in before starting the new job. 'I've been able to get a driver's license and a car that my New York existence didn't require,' he said.
+JAMES BARRON"
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+THE sign that no theatergoer wishes to see was up the day of the performance: The star of the show -- in this case Martin Short in 'Little Me' -- was out sick. As is usual in these cases, the ticket holders were hollering. At 4 P.M. on the Monday before Christmas there were already a dozen at the box office, demanding their money back, indifferent to the talent of the fellow who was taking over the starring role.
+'Oh, boy, I sure wouldn't want to be that guy,' an actor, Michael McGrath, said as he walked by. This was an extreme inside joke. He was that guy.
+Moreover, 'Little Me,' a farce originally written for Sid Caesar in the early 60's, demands that the star sing, dance and do 36 costume changes for seven parts, including a French crooner, a show biz agent, and a prince from a country so small 'it had been defeated in war by Luxembourg.'
+Would Mr. McGrath -- who, in addition to being Mr. Short's understudy, has five roles in the show -- share his feelings about taking on the starring role on 24-hour notice?
+'Shock,' Mr. McGrath, 41, says  after posing outside the Roundabout Theater on Broadway, where as usual, nobody recognizes him.
+Elaborate, please.
+'I knew Marty was having trouble vocally,' says Mr. McGrath (pronounced McGraw), 'but I'd understudied for him before, in 'The Goodbye Girl,' and I had never gone on. The man's got cords of steel; he never missed a show. They told me I was going on after the Sunday matinee. I went home, ran lines with my wife until 10:30, then I went to bed. I didn't sleep very well. The most fearful thing is I'm going on for Martin Short. I'm not naive, I know people won't be coming to see me.
+'Then, when I stepped out on the stage, I got entrance applause and I thought, 'O.K. The people who are here want to be here.' After a while it felt like I could do no wrong, that the people were on my side. They were seeing live theater, something that doesn't happen all the time.'
+There is a theater story we never tire of, perhaps because it features the underdog, to whom, with our ragged little hearts, we relate and for whom we cheer: the understudy who, with little notice, takes over for the star and brings down the house.
+Mr. McGrath, who lives in Wee hawken, N.J., with his actress wife, Toni DiBuono, and their daughter, Kathleen, 3, went on for the star, who was ill with a cold, three times last week. Thinking of Mr. McGrath as an overnight sensation would not be correct. Outside his theater, there was no sensation. Also, Mr. McGrath has made a living as an actor for 20 years. He's starred in the Groucho Marx role in a revival of 'The Cocoanuts' two years ago, and has been  featured in a number of other shows.
+'I'm called a quirky leading man,' Mr. McGrath says, 'quirky' being the show business euphemism for a person who does not have classic good looks and is known to cut up. (He has also been called 'puckish,' which is show biz for short.)
+THERE is one problem with Mr. McGrath's assessment of his career: Except for 'The Cocoanuts,' Mr. McGrath has not had a starring role to call his own in a major New York show. When he did, he did not keep it long, moving on to a supporting role in another musical, 'Once Upon a Mattress,' where he stayed for only three weeks.
+'I made a big mistake,' Mr. McGrath says, 'but I learned my lesson: Never do something for money. We had a new child; I was making less than $1,000 a week on 'The Cocoanuts.' Going to the new show, I was making nearly three times that. It just didn't work out.'
+What did Mr. McGrath earn going on for the star in 'Little Me?'
+'Nothing,' Mr. McGrath says, without rancor.
+This is the thing that Mr. McGrath believes made him an actor: the pleasure of showing off, from the time he was a boy. He grew up in Worcester, Mass., the youngest of five children. His father was a car salesman who always sang around the house; his mother was a baker. Mr. McGraw put in three months at the Boston Conservatory of Music before quitting and got his first job, in summer stock, within the year.
+The first evening Mr. McGrath went on for Mr. Short, the scene at the box office at show time would have crushed any actor: Dozens were demanding their money back.
+But an interesting thing happened when Mr. McGrath went on. Fueled by the terror or excitement of a leading man who had never had a full rehearsal, the cast was energized. Mr. McGrath seized his seven roles with manic glee. When lines were blown, the cast improvised, sometimes breaking into unscripted, poorly controlled laughter themselves.
+After the show, Mr. McGrath found a bottle of Dom Perignon, from Martin Short, in his dressing room. Then Mr. McGrath and his wife, who had been in the audience, went to Cafe Un Deux Trois for what was to have been their fifth anniversary dinner, and it became a double celebration. 'Little Me' is to close at the end of January. In March, Mr. McGrath is scheduled to do another off-Broadway show, 'Exactly Like You,' a Cy Coleman musical.
+But he'll always have that Monday  curtain call, in which the audience -- including this reporter, who had planned on seeing Martin Short -- gave Mr. McGrath the special ovation for people who leap into impossible situations full throttle and soar. They rose to their feet, screaming, 'Bravo! Bravo!'
+PUBLIC LIVES"
+False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Traveler Who Had a Stopover In Newark Is Tested for Ebola
+A woman who traveled from Congo to Toronto last weekend, with a stopover at Newark International Airport, became seriously ill on Sunday and is being tested for several contagious diseases, including meningitis and the deadly hemorrhagic fever caused by the Ebola virus.
+If the Ebola virus is confirmed, the case would be the first of the disease in a human in North America. It would also validate the warnings of infectious disease experts who have long maintained that geographical boundaries are increasingly meaningless to the spread of disease.
+Canadian health authorities stressed that although the patient's symptoms matched the early stages of hemorrhagic fevers, the cause of her illness had not been identified.
+Blood samples from the patient have been sent for testing to a laboratory in Winnipeg and to the Centers for Disease Control and Prevention in Atlanta. Results were expected by Thursday. Barbara Reynolds, a spokeswoman for the disease centers, said that if tests for Ebola were positive, epidemiologists were ready to begin tracing people who may have come into contact with the patient in the United States.
+Ms. Reynolds said, however, that preliminary reports indicated that the patient was not ill while traveling, and since viral hemorrhagic fevers are generally not considered contagious until after symptoms develop, the odds were small that she spread the disease while traveling.
+Canadian health authorities said they were already tracing the patient's close contacts in that country, and were monitoring 10 hospital employees and 2 people outside the hospital.
+The Ebola virus, first recognized in Congo in 1976, has killed 40 percent to 88 percent of its victims during outbreaks in Africa. The most recent known outbreak occurred in Uganda last fall, killing about 170 people out of 425 who were infected.
+After an incubation period of 2 to 21 days, the disease causes high fever, headache, sore throat, muscle pain, stomach pain, diarrhea, fatigue and, in later stages, bleeding and shock. Death can occur within a week. There is no specific treatment for the disease; doctors can only treat symptoms in an effort to keep patients alive through the worst of it.
+The disease is spread by contact with the blood and secretions of an infected person, and hospital workers caring for Ebola patients need gloves, gowns, face shields and masks to protect themselves.
+The patient, who has not been identified, is being kept in isolation at Henderson General Hospital in Hamilton, Ontario. The Toronto Star reported yesterday that she was rushed there by ambulance from a private home on Sunday night and was in serious condition, drifting in and out of consciousness.
+The Port Authority of New York and New Jersey, which runs the Newark airport, said it had not been notified by federal health or airline officials that a possibly infected passenger had traveled through the airport. And it said it would not make any efforts to quarantine any passengers or crew members who may have traveled with her.
+'Not at this point,' said Steve Coleman, a spokesman for the Port Authority, 'because the reports we're getting at this point are that she didn't become ill until she got to Canada.'"
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+Jeffrey S. Lehman, dean of the University of Michigan Law School, will become president of Cornell University in July, Cornell announced yesterday.
+In his role as a dean at the University of Michigan, Mr. Lehman is a defendant in a lawsuit over affirmative action that the Supreme Court recently agreed to hear.
+Cornell said Mr. Lehman, a 1977 graduate, is the first Cornell alumnus to become its president. He succeeds Hunter R. Rawlings III, who has been president since 1995 and will return to teaching and research.
+Cornell is the latest in a string of universities, including Columbia, New York University and Yeshiva University, to name a law dean or lawyer as president.
+Mr. Lehman said his legal training probably helped him to be comfortable with ambiguity, complexity and uncertainty. Like Columbia's president, Lee C. Bollinger, and N.Y.U.'s president, John Sexton, Mr. Lehman was a clerk at the Supreme Court before entering teaching; he worked under Associate Justice John Paul Stevens. Now he is deeply involved in preparing Michigan's case for the Supreme Court hearing next spring.
+Affirmative action is an issue Mr. Lehman has lived with closely for a decade. In 1992, as a junior faculty member, he served on a committee to revise the Michigan law school's admissions procedures, an experience he remembers with affection.
+'It was an intellectually stimulating experience -- to think deeply about the purpose of an institution of higher education,' he said. 'You don't often get to do that; often, institutions carry on by inertia.'
+Since 1997, when a white applicant sued the law school, saying it had rejected her in favor of minority students with lesser credentials, Mr. Lehman has been active in defending the school's admissions practices. In May, the United States Court of Appeals for the Sixth Circuit upheld its procedures.
+Mr. Lehman said he had confidence in the legality of the school's admissions process because race was only one of many factors it considered. He noted that in the Supreme Court's 1978 Bakke decision, on the medical-school admissions procedures at the University of California at Davis, Justice Lewis F. Powell Jr., writing separately, specifically said that public colleges could consider race if they were trying to ensure a diverse student body for educational purposes.
+'I understand what motivates our critics,' Mr. Lehman said. 'I understand what their discomfort stems from. But where we part company is that our critics feel that any deviation from colorblindness is simply intolerable, even if it means that schools like ours do a much worse job teaching students to be leaders in an integrated society.'
+A mathematics major at Cornell who spent his junior year in France, Mr. Lehman has a ready sense of humor and was an avid game player in college. As a freshman, he said, he spent many nights playing Monopoly with Jay Walker, a friend across the hall (who later founded Priceline.com). During winter break the next year, the two wrote a book, '1,000 Ways to Win Monopoly Games.'
+Mr. Lehman graduated with distinction and went on to earn degrees in public policy and law at Michigan, where he was editor in chief of The Michigan Law Review. Besides working for Justice Stevens, he was a law clerk in Portland, Me., for Chief Judge Frank M. Coffin of the United States Court of Appeals. He also practiced law for four years at Caplin & Drysdale, a Washington law firm, before returning to academe.
+In 1987, he joined Michigan's law faculty, where he focused on policy issues like higher education financing, corporate taxation and welfare reform, working closely with Sheldon Danziger, a Michigan economist. Mr. Lehman also helped create a clinical program for law students to assist community groups in economic development and developed a course in transnational law that is required for Michigan's J.D. degree.
+During Mr. Lehman's tenure as dean, the law school received $82 million in cash gifts, and its endowment grew to $204 million from $79 million. Last year, the school won the American Bar Association's award as public interest school of the year. The son of two lawyers, Mr. Lehman is also president of the American Law Deans Association.
+He said that it is too early to have a specific agenda for Cornell, but that he hopes to continue to focus on public service and transnational issues, which he believes already have an important place at the university.
+Mr. Lehman said he had not been looking to leave Michigan, since there was more to accomplish. But he said that with a father who had also attended Cornell and a son, Jacob, who is a freshman there now, he felt a deep kinship with it. 'It so happens that Cornell is the other institution that I have this irrational emotional attachment to,' he said.
+Mr. Lehman said he looked forward to the Cornell presidency because research universities 'have a tremendous impact on the human species.'
+'The research that takes place,' he said, 'in the sciences, the social sciences, the humanities and the arts, and the professions, all makes a difference in how people live everywhere in the world.'"
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+1922-1996 -- Thomas S. Kuhn, a historian of science, turned his business upside down with a radical idea of what makes a scientific revolution -- and created one of the foremost cliches of our time.
+Weightier than the critical mass, sharper than the cutting edge, bigger even than the quantum leap -- the great intellectual cliche of our age is (ital)paradigm shift(end). This was Thomas S. Kuhn's contribution to our culture, and he was not altogether happy about it.
+Kuhn was a physicist turned historian of science, a philosopher of knowledge and, in his spare time (what can we read into this?), an avid rider of roller coasters. His 172-page masterpiece, 'The Structure of Scientific Revolutions,' published in 1962, arguably became the most influential work of philosophy in the latter half of the 20th century. It sold more than a million copies. It introduced paradigms, new paradigms, pre- and post-paradigms and, of course, paradigm shifts. He once said that he had not bothered with an index because its main entry would be 'paradigm, 1-172, passim.' 'Unfortunately,' he said, 'paradigms took on a life of their own.'
+If you yourself have used the word without being exactly sure what it means, you are in good company. One of Kuhn's critics (he had many) claimed to have isolated 22 distinct meanings for paradigm in the book, and Kuhn confessed to a certain elasticity in his use of the term. Nonetheless, it is a genuine and powerful notion, its presence in our language well deserved.
+Kuhn saw that science does not always make smooth and gradual progress, with researchers calmly adding their bricks to the edifice. Sometimes, science changes by means of revolutions. Its practitioners undergo a transformation of vision, like people who stare at that optical-illusion silhouette of a candlestick until they suddenly see it flip into a pair of human faces. The paradigm shift, in contrast to 'normal science,' means crisis. It means tearing down an established framework and reassembling the pieces into something quite new.
+This is a romantic idea, and practitioners of just about every branch of science now claim paradigm shifts almost yearly. Real paradigm shifts are not as common as all that, but they do occur. When I met Kuhn, a decade ago, I was researching a book on chaos and complexity, the most sweeping transformation of scientific vision in our own time. His words applied perfectly: 'It is rather as if the professional community had been suddenly transported to another planet where familiar objects are seen in a different light and are joined by unfamiliar ones as well.'
+Kuhn's approach did not altogether flatter scientists. It implied that their enterprise was not a purely rational search for truth but rather an act of construction bound to social forces and constrained by habits and biases. Deconstructionists have seen Kuhn as an ally. But they have often gone too far, suggesting that Kuhn thought of science as a kind of 'mob psychology,' arbitrary and detached from what old-fashioned types used to call 'reality.' It is true that Kuhn tried to understand the mechanics of Aristotle, say, on its own terms rather than as a silly and inferior version of Newton. He sought to appreciate its logic as a world view. 'When reading the works of an important thinker,' he advised, 'look first for the apparent absurdities in the text and ask yourself how a sensible person could have written them.'
+But he did not mean to suggest that Aristotelian mechanics would come in handy for aerospace engineers. Newton does describe nature better than Aristotle, and Einstein better than Newton. Kuhn noted that the crises leading to paradigm shifts often begin with new discoveries, experimental discrepancies that cannot be squeezed into the established framework. New data force scientists to see the world differently -- and afterward the data themselves look different. He held a complicated picture of knowledge building in balance.
+So, thanks to Kuhn, we've lived through paradigm shifts in child rearing, sports psychology and stock-market analysis. All too many academics have published essays titled 'Brother, Can You Paradigm?' When Kuhn died in June, it was inevitable that at least one waggish obituarist would say he had now undergone the ultimate paradigm shift -- himself.
+THE LIVES THEY LIVED: Thomas S. Kuhn  James Gleick, who writes the Fast Forward column for the Magazine, is the author of 'Chaos: Making a New Science.'"
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+Squared-off B's that look suspiciously like F's and report cards that get 'lost in the mail' are becoming endangered species as schools go to new lengths to prevent forging of grades and transcripts.
+Some schools have switched to high-tech, tamper-resistant paper, and others have set up Internet-based grade books that allow parents to monitor a child's progress.
+Precise data about report card forgery is hard to come by, said Gregory J. Cizek, a researcher at the University of North Carolina who studies cheating. Nonetheless, only one or two cases -- or even unconfirmed anecdotes -- can be enough to make schools act to thwart cheating.
+In interviews with principals across the country, many mentioned the ease of altering report cards and transcripts using desktop publishing software like Adobe Photoshop, which allows students to capture a school's seal off its Web site and paste it into a file to create an official-looking document.
+One administrator told of a student who was caught forging his report card when the nearby Kinko's called the school to report that a student had left a copy of his grades on the copier. One principal said he had heard of students forging transcripts with generic-embossed seals to avoid paying for official transcripts.
+Don Zeller, assistant principal at Munster High School in Munster, Ind., for example, said that although he could not quantify it, he knew forgery was a problem. He said he had decided to switch to tamperproof paper from Scrip-Safe, a document security company based in Ohio, after a local printing company could not provide enough safeguards.
+Scrip-Safe sells its paper to about 350 high schools that use it for transcripts, report cards and even hall passes, said the company's chief executive officer, Joe Orndorff.
+'Our high school business just walked in; it's not something we have salespeople for,' he said, adding that most clients had seen the benefits of secure paper at the college level or had been contacted by a college about a fraudulent transcript.
+Eric Hicks, the registrar at Mercersburg Academy, a private high school in Pennsylvania, said the school decided to start using Scrip-Safe's specialized paper for transcripts after discovering that a transfer student's transcript had been forged -- by the parents.
+'We didn't know until the final transcript came directly from the school,' he said, detailing the parents' effort to create an authentic-looking transcript, including buying a machine to create a raised seal.
+Mr. Hicks said the added security was worth the cost. 'We thought then that people could forge our transcript and that tipped us over the edge,' he said. 'No one even flinched.'
+Other schools have taken to the Internet. Sandie Platt, the principal at Lake Central High School in Indiana, said that this year parents have been able to see their child's grades online through Edline, a service out of Chicago that allows students and parents to monitor grades, attendance, assignments and calendars. The school still sends out printed report cards, even if they are somewhat superfluous.
+It's more difficult -- and less rewarding -- for a student to dramatically alter a grade on a printed card, since parents can monitor progress and no longer rely on a once-a-semester update.
+Kent Vermeer, an assistant principal at Largo High School in Florida, uses the online grade book service ParentConnect, a part of Pearson Education Technologies. Mr. Vermeer said he knew that report cards were being forged by students, especially when they were printed on plain white paper, because he would continually get calls from suspicious parents.
+The funniest instance he remembered was when a report card that arrived from Mexico on an official letterhead was translated. It turned out to be made up, with fake course titles. With the online system, Mr. Vermeer said, parents can now let children know that they are keeping track of their progress.
+'It's a quiet way to monitor,' he said, although he estimated that with only about 20 percent of all parents registered, use of the system is probably skewed toward better students.
+The decision to go digital brings up new questions about hacking. Representatives of both ParentConnect and Edline said they had never heard of anyone hacking onto one of their servers, and since the Web sites are on secure servers maintained by either the companies or the schools, and the parent and student accounts are password protected and read-only, the susceptibility to hacking is minimal."
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+With the conviction on Wednesday of the former fugitive Ramzi Ahmed Yousef in the World Trade Center bombing, an Indiana native named Abdul Rahman Yasin now inherits the dubious distinction of The Man Who Got Away.
+And for the F.B.I., it is a distinction that proves particularly embarrassing: agents had Mr. Yasin in custody the week after the bombing in 1993, but then questioned and released him -- with a plane ticket to Jordan in his rear pocket.
+So Mr. Yasin, born in Bloomington of Iraqi parents, is instead the subject of a $2 million reward by the State Department and is believed to be living with relatives in Baghdad, beyond the reach of American law enforcement agents or diplomats.
+According to Federal documents, Mr. Yasin was a roommate of Mohammed Salameh, a convicted co-conspirator who rented the van that transported the bomb to the twin towers. Mr. Yasin was picked up in New Jersey by Federal Bureau of Investigation agents after the blast but was eventually released.
+'They freely let him go,' his lawyer, Stephen A. Somerstein, said yesterday. 'At the time he left the country, they had no evidence against him, and from what I understand, they still have no evidence against him.'
+But by mid-1993, F.B.I. agents were told that Mr. Yasin, 36, had played a pivotal role in the plot, maintaining the Jersey City apartment where the terrorists received mail, making phone calls to contacts in Iran and Pakistan and obtaining chemicals used to build the 1,500-pound bomb. A Federal indictment released in August 1993 also accused Mr. Yasin of teaching Mr. Salameh how to drive the rental van that eventually carried the bomb to the underground parking garage of the Trade Center, where the explosion killed six people and injured more than 1,000. David Kelley, a prosecutor in Mr. Yousef's trial, said Mr. Yasin also helped mix the chemicals to fuel the bomb.
+While investigators are frustrated that Mr. Yasin was allowed to leave the country, they say there was not enough evidence to detain him after his questioning in March 1993. 'It's a case of damned if you do, damned if you don't,' said Oliver (Buck) Revell, former chief of intelligence for the F.B.I.
+'Why do you think so many of these people are coming here?' he said. 'Because the United States is the greatest place in the world for a terrorist to operate. A guy can have all kinds of suspicious looks and people can suspect him of all kinds of things but if you don't have probable cause, you can't even hold him for questioning.'
+Despite the fact that he is the subject of a global manhunt, relatively little is known about Mr. Yasin's personal history. He was born in Bloomington in 1960, but his family moved back to Iraq in the mid-1960's, where Mr. Yasin was raised. Mr. Yasin's lawyer said his client returned to the United States to seek treatment for epilepsy. And Federal agents said Mr. Yasin stayed in New York because his brother, a professor of electrical engineering, lived in the area.
+In the four years since Mr. Yasin has been a fugitive -- possibly using the aliases Aboud Yasin, Abdul S. Taher and Rahman S. Taha, according to the State Department -- Federal agents have received several reports that he was sighted in Baghdad. But State Department officials have little hope of persuading Iraqi officials to turn him over to the United States for prosecution.
+'As long as Saddam Hussein is in power, he's about as secure as he can be,' said an investigator, who spoke on condition of anonymity.
+Mary Jo White, the United States Attorney in Manhattan, said the authorities were still pursuing every conceivable strand of evidence leading to Mr. Yasin.
+'The case investigation will never be over, in a sense,' Ms. White said,  'until we track down every person who had a role in the bombing.'"
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+Twenty-five states have given up trying to negotiate a settlement in their dispute over pollution that blows into the Northeast from the Midwest and South, meaning that the issue will be resolved in court, state officials said today.
+As 11 Northeast states from Maryland to Maine try to comply with the Clean Air Act, they have been trying to force 14 Middle Western and Southern states to sharply reduce emissions of nitrogen oxides. The United States Environmental Protection Agency took the side of the Northeast states, but after suffering some setbacks in court, it pressed the states to negotiate a deal.
+But this week, states on both sides rejected out of hand the first proposed compromise. Today, officials acknowledged that the talks, barely begun, were over.
+'We thought it would be a worthwhile process to see if there could be any common ground, but unfortunately, there's not,' said John P. Cahill, New York's Environmental Conservation Commissioner, who had been the lead negotiator for the Northeast states. 'It's now a continued vigorous pursuit of the litigation.'
+In a series of conference calls yesterday, just 4 of the 14 states in the other camp were willing to accept the compromise, a fact that was relayed to Mr. Cahill this morning. It was not clear how many of the Northeast states might accept it, but Massachusetts had said it would not, and others expressed deep reservations. State and Federal officials had said that a negotiated deal could work only if all 25 states agreed to it.
+Summertime levels of ozone, or smog, in several urban areas in the Northeast, including New York City and its suburbs, exceed Federal standards. To comply with the Clean Air Act, the Northeast states are trying to curtail their levels of nitrogen oxides, a chemical group that contributes to the formation of ozone and acid rain.
+All of the Northeast states plan to adopt a new emissions standard of 0.15 pounds of nitrogen oxides per million British thermal units of power consumed, and they have asked the Environmental Protection Agency to impose the same standard on the Midwest and the South. They contend that much of the Northeast's pollution problem arrives on the prevailing winds from the other regions, a claim that Midwestern and Southern states contest.
+But the states of the Midwest and South have said they cannot accept any requirement lower than 0.25 pounds, which would represent a significant emissions reduction. Last week's compromise proposal would have required an initial 0.25 standard, dropping later to 0.2.
+The E.P.A. announced last year that it planned to impose the 0.15 standard sought by the Northeast, but some of the other states went to court to block it. In May, the United States Court of Appeals for the District of Columbia postponed implementation of that plan, pending a hearing that is set for November.
+Environmental agency officials grew nervous about their chances in court and pushed the states to work out a deal on their own.
+If the E.P.A. fails in court, the Northeast states still have the ability to pursue their own lawsuits under the Clean Air Act."
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+TWICE a week Luis Manuel Rodriguez sets up his fishing poles against a railing in Riverside Park and drops his lines into the Hudson. Then he sits on a bench and watches the river roll past 83d Street, comforted by its rhythms and breezes.
+""In the last month when I look from here I keep thinking of the Mississippi,"" the 47-year-old native of Santo Domingo said as he waited for blues and catfish to bite. ""I think of all the people out there working to get the water off the land.""
+The Hudson is not the Mississippi. By the time its waters reach the city they flow at sea level and the river drains quickly into the bay. There is no flood plain and no one here can remember the last time the Hudson seriously overflowed its banks.
+Still, it is a river, a big broad stream that first attracted the Dutch. And this summer, while New Yorkers drove, walked, or played on its banks, the sight of it provoked empathy.
+""Sure, we all talk about it,"" said Ron Boudreau, the dockmaster of the 79th Street Marina. ""We've all seen the television reports, the sandbags, the broken levees, and when you live on a river you can't help but think about those things in personal terms.""
+Doron Katzman, a ship's carpenter who lives aboard a houseboat in the marina, said, ""We keep remembering what happened here last Dec. 11."" That was when a fierce northeaster lashed the metropolitan area and churned the Hudson into fury.
+""The tides were four and a half feet above normal and water was over the pathways,"" he recalled. ""Three boats were sunk here and some sections of the dock were ripped up. This river, now so beautiful, was dangerous.""
+Mr. Boudreau added: ""Yes, but in two days it was over. I remember the calm that came right after the storm. The water was so clear. For the people in the Midwest, the problems have been going on for months. We had a battle. They're having a war.""
+A few miles upstream, in the Inwood section, Sam Zaslavsky can turn away from television reports on the Mississippi flooding and look out on the Hudson and the steep cliffs of the Palisades. From this perspective, Mr. Zaslavsky, a retired engineer, has translated images of the floods into local terms.
+""I read that at one point seven million gallons of water were flowing past St. Louis every second,"" he said. ""I figured out that this meant that in just four minutes out there an amount of water was roaring past that was equal to the average daily consumption of water in the metropolitan area during our hottest weather.""
+Computing what such flows would mean on the Hudson, Mr. Zaslavsky calculated that just north of the George Washington Bridge, the water level would rise by 30 feet. ""That enormous volume of water would be moving at about 30 miles an hour, generating a force that would sweep away just about any structure,"" he said.
+Presumably the Little Red Lighthouse, railroad tracks and the North River sewage treatment plant and new state park on top of it would be endangered. In midtown and downtown, where the riverbanks are not that high, water would cover streets and subways, rush into houses and possibly into entrances of the tunnels.
+Such empathetic musings, generated by the sight of the Hudson, are clearly commendable. They serve to turn the strangers we have seen on television into neighbors and countrymen. Often the empathy slops over into admiration and even something like envy for the courage and the grace of the remarkable Midwesterners.
+'It would happen here like that,"" said Mr. Rodriguez, the fisherman.  ""Troubles bring people together,"" he insisted. Mr. Boudreau, the dockmaster, recalled that after last winter's storm people he never saw before came to help clean up. ""I don't know where they all came from.""
+But Mr. Zaslavsky is not so sure that New Yorkers would do as well in the face of prolonged adversity: ""Those are farmers out there and people from small towns who live closer to nature than we do. They are used to cooperating. Here there is something else."" He noted that there had been virtually no reports of profiteering or swindling in the flooded communities. ""I doubt that would be the case here.""
+Who can tell? In the past the city has done well when hit by storms and blackouts, but none of these have lasted as long or proved as costly as the floods in the Midwest. Certainly it has pulled together better in the face of natural disasters than in manmade ones like the flood of handguns, drugs and crime and surges of divisive political campaign oratory.
+No one should ever envy anybody else's bad luck, but one thing about the siege they are having in the Midwest stands out. Out there, where since June 12 at least 48 people have died in the floods, the bad luck has been shared pretty equally and the response has been admirable.
+In New York, a check of news accounts shows that in the same period, at least 31 people have been shot or stabbed to death, and that represents just the killings reported in the newspapers. Our own bad luck has been doled out more unevenly. It's just a normal summer and the responses have not been inspiring at all.
+ABOUT NEW YORK"
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+In the plain little towns that ring the Meadowlands, where Giants Stadium rises from the swampy flats like a forbidden city, Sunday's N.F.C. championship game will carry with it a familiar, slightly bittersweet taste of exclusion.
+Of course the game is sold out. It's the playoffs. But Giants games are always sold out. And while hometown fans of most N.F.L. teams have a hard time getting into games these days, this is especially true in the case of the Giants, whose long, proud history -- much of it as the only pro team northeast of Philadelphia -- means that season tickets are passed down from generation to generation like jeweled watches. The waiting list is at least a decade long.
+There are, to be sure, some football fans in southern Bergen County who have season tickets. But for the rest there are two options -- watch the game on TV like the rest of America, or be creative. For locals who choose creativity, a whole culture, almost an underground economy, has developed around ways to angle, wangle, bluff or schmooze a way into the stadium.
+Hence the tale of Robert Soboleski and George Georgeou, friends who were drinking happy-hour beers here in Carlstadt, just up Route 503 from the Meadowlands, at the Grasshopper Also bar (not to be confused with the Grasshopper Too, a related establishment in Wayne).
+Both are local guys who wore the caps of their employer, Matheson Tri-Gas, esteemed vendor of argon, arsine and other industrial substances, in East Rutherford. And since they were boys, both have rooted like hell for the Giants.
+But Mr. Soboleski, 36, has a second job, plowing snow at the stadium for a big construction company. A big shot there has season tickets. And he's usually out of town on the weekends. So he gives -- gives! -- Mr. Soboleski his tickets.
+So on Sunday, as the Giants try to hold off the Minnesota Vikings for 60 minutes and dee-fense their way to the Super Bowl, Mr. Soboleski, a big, beefy guy, will be at his usual spot in the stands, his big, beefy face painted Big Blue. And Mr. Georgeou, as usual, will watch from his couch in Little Ferry, three miles north of the end zone.
+'You've got to love it,' said Mr. Soboleski, nearly dancing in his chair.
+'I don't love it,' said Mr. Georgeou, 63, who can count on one hand the number of games he has attended since the Giants moved to his backyard 25 years ago. 'But I don't begrudge him, because he's a diehard Giants fan.'
+Similar stories abound.
+At Maggie O'Byrne's, a bar on a ridge on the west side of Carlstadt, overlooking the stadium, Tom Harnett, the grounds supervisor at Hackensack University Medical Center, said he relied on charity and luck to breach the stadium gates. The Giants give tickets to a fund for children with cancer, which then raffles them off. Mr. Harnett, 55, said he had won the raffle about 20 times.
+A bartender at Maggie's, Patty Garrett, will be at the game Sunday, working, sort of. Ms. Garrett, who is 24 but looks younger, is paid to make the rounds of the concession stands, buying beer to make sure the vendors ask for ID. Ms. Garrett got her job through a neighbor in Wood-Ridge who worked for the Giants concessionaire, she said.
+A few years ago, she said, someone offered her father field-level press passes. 'He said, 'All you have to do is wear a camera around your neck and pretend you're a reporter,' ' she recalled. Her father declined, she said, and she has not forgiven him.
+On the steps of Carlstadt's boxy beige-brick municipal building, Domenick D. Giancaspro lifted his eyebrows conspiratorially when asked how he managed to get to games several times a year.
+'I can't say,' he said. 'I'm the chief financial officer of the town. But let's say connections.'
+Elsewhere, the gallery of longtime Giant rooters is filled with giants of many sorts.
+Andy Rooney drives to Manhattan from Norwalk, Conn., boards a shuttle at the Port Authority Bus Terminal and rides to the games with his fellow fans. He has decent tickets now, but he had to work for them.
+In the 1950's, Mr. Rooney explained, he was part of a group who shared a cluster of 10 season tickets, one of which was behind a pole at the Polo Grounds. 'If you were new,' he said, 'you had to sit behind the pole until someone left the group and you could move up, and I was there for one year behind the pole.'
+A federal judge in the Southern District of New York, Richard C. Casey, has been going to the games for more than 40 years, the last 13 in the company of a guide dog.
+'God was kind to me,' the judge said. 'I saw the Giants win the Super Bowl in 1987, and I was blind a month later.'
+The novelist E. L. Doctorow still cherishes memories of attending Giants games back when cheap bleacher seats drew a much more diverse crowd. 'If you go out to the ballgame now, it's all white and middle class and up, and I think that's to be regretted.'
+At Maggie O'Byrne's, Eddie Marthinson was holding forth, fondly remembering the days in the 1950's when the Giants played at Yankee Stadium and anyone could buy a ticket on game day for $1.75 and sit in the bleachers. The face value of some upper-tier tickets for Sunday's game was $82, but with the sellout, scalpers will be asking many times that price.
+Years back, Mr. Marthinson, 58 and now the assistant track supervisor at Meadowlands Racetrack, got his hands on season tickets and has not let go.
+'I put them in my daughter's name,' he said. 'That way if I drop dead I know damn well who's going to get the tickets.'
+At the Grasshopper Also, a few of Mr. Georgeou's neighbors confessed to having season tickets. Mike Raleigh, 37, a sales executive, said he waited 10 years for his. Lee Johnson, 67, who works at a towel factory in Moonachie, got his season tickets in 1954.
+Mr. Georgeou was glad to hear about his fellow fans' good fortune.
+'If anybody's interested in giving away tickets, come and see me,' he said. 'They can reach me on my cell phone.'
+He did not offer his number."
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+Any reluctance to change on the part of Sergio Zyman would be understandable. Yet Mr. Zyman, who managed one of the most ill-fated marketing moves ever, the introduction of New Coke, remains a relentless proselytizer of repositioning the images of products and services.
+'Companies have to constantly figure out who they are and where they are in relation to the competition,' said Mr. Zyman, 59, who retired from Coca-Cola for the second time in 1998. 'You may not need a whole new brand, just some tweaking.' He opened a consulting firm in Atlanta called the Zyman Group, which now has more than 100 employees and a client list including the Blockbuster video chain, ConAgra Foods and Callaway Golf.
+Mr. Zyman, a native of Mexico, still lives in Atlanta, Coke's hometown, and has written his third marketing book: 'Renovate Before You Innovate: Why Doing the New Thing Might Not Be the Right Thing' (Portfolio, $24.95).
+His message is essentially one of not necessarily throwing out the brand with the soda water. He ought to know. Looking back at the introduction of New Coke in April 1985, Mr. Zyman now suggests that something less radical might have been in order -- like changes in pricing, labeling and advertising. New Coke, with a sweeter taste than the original, was a colossal flop, and just 77 days after its introduction the company resurrected the old formula as 'Classic Coke.' The 'new' version vanished soon after.
+Mr. Zyman left the company in 1986 but was recruited back in 1993 as chief marketing officer and is credited with revitalizing the brand during his second tenure. In what is surely an understatement, Mr. Zyman said, 'I have spent a lot of time thinking about New Coke.'
+Restoring the original formula was as controversial within the company as the decision to start the new one, he said. 'Oh sure, now everyone who was at Coke then will say they wanted to switch back, but I remember that probably 95 percent of management was against that,' he said.
+He now wishes that instead of jettisoning the old formula, Coca-Cola had moved more quickly to dump one of its most memorable advertising campaigns: 'We put a bunch of people on a hill to teach the world to sing,' Mr. Zyman said, 'and we should have been teaching them to drink Coke.'
+Robert Johnson
+REFRESH BUTTON"
+True,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,False,True,False,False,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,True,False,True,False,True,False,False,False,True,False,False,False,False,True,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,True,True,False,False,False,True,False,False,True,True,False,False,False,True,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,True,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,True,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"Still Waiting
+'I've never felt like anybody wanted me dead before,' says Kendall Morrison, a 35-year-old New Yorker with AIDS. But an unnamed Michigan investor who purchased Morrison's life-insurance policies in 1993 surely did. Earlier this year, the investor threatened to sue the broker who sold him the policies for fraud and breach of contract. He was upset that, five years later, Morrison was still alive.
+Breach-of-contract lawsuits are the latest wrinkle in the viatical settlements industry, the controversial business in which terminal patients' life-insurance policies are sold as commodities. Since the financial return of the investor, who lays out cash and takes over the premium payments, is inversely related to the seller's longevity, the practice is fairly ghoulish. On the other hand, the deals get money to people who desperately need it.
+Morrison, for instance, sold his two policies for around 50 percent of their $350,000 face value at a time when he'd lost his health insurance and was 'extremely sick -- wasting, unable to retain food, in diapers.' But after multiple hospitalizations, he went on a pricey regimen that included protease inhibitors and slowly returned to stable health. The investor grew impatient. 'They kept sending me these Fed Exes and calling,' Morrison says. 'It was like, 'Are you still alive?''
+Morrison's broker settled in May, presumably not wanting to risk a court battle. Other cases are pending. Investors in Dignity Partners, a San Francisco-based company, charged the company's board with being remiss in not seeing how new therapies would affect their returns.
+Not surprisingly, Morrison has no sympathy for speculators who lose out. 'I'm a survivor,' he says. 'Get-rich schemes are usually high-risk: maybe high returns, maybe no returns.'
+SUNDAY: JULY 19, 1998: AIDS"
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+A search committee for the next president of Hunter College has narrowed its field of finalists to three longtime college administrators and the chairwoman of the New York City Landmarks Preservation Commission, Jennifer J. Raab, according to people close to the committee.
+Ms. Raab, a lawyer who has earned a reputation as a staunch defender of the city's historic structures and was issues director for Mayor Rudolph W. Giuliani's 1989 mayoral campaign, has been championed by people associated with the mayor, including two trustees of the City University of New York who were members of the search committee: Randy M. Mastro, the former deputy mayor, and Benno C. Schmidt Jr., who headed the mayor's task force on CUNY and the Hunter search committee.
+Despite this support, the people close to the search committee, who spoke on the condition of anonymity, said it was too early to say whether Ms. Raab would land the job.
+Besides Ms. Raab, the candidates who are being invited for discussions with faculty, staff members and students at Hunter starting next week are Jo Ann M. Gora, the provost of Old Dominion University in Norfolk, Va.; John C. Stockwell, chancellor of the University of South Carolina at Spartanburg; and Gregory H. Williams, dean of Ohio State University's College of Law. Mr. Williams has also earned a reputation outside academia for a book he wrote, 'Life on the Color Line: The True Story of a White Boy Who Discovered He Was Black,' (Dutton, 1995), an autobiographical account of his childhood.
+The committee reviewed about 50 candidates and was said to be pleased with the pool of applicants.
+'I think it speaks very well of the improving reputation of City University that so many high-quality candidates were attracted,' Mr. Mastro said. He would not comment on any specific candidate or on the selection process.
+Matthew Goldstein, CUNY's chancellor, also would not comment on any of the candidates but said he and the trustees would have the opportunity to interview them and he would then make a recommendation to the board.
+Despite criticism in recent years about CUNY's being a remedial factory for poorly prepared students, Hunter, the largest of CUNY's 11 senior colleges, has been a hot campus. Centrally located at East 68th Street and Park Avenue, it has attracted some of CUNY's strongest students. This year its enrollment topped 20,000.
+Hunter's former president, David A. Caputo, left earlier this year to become president of Pace University. Evangelos J. Gizis has been serving as Hunter's acting president since July.
+CUNY's compensation plan allows it to pay slightly more than $200,000 to Hunter's president, although the chancellor has the authority to recommend more.
+Although Ms. Raab has not worked at a university, her supporters say she has been associated with schools  projects in New York, including the creation of Preservation High School in Brooklyn and the Riverdale-Kingsbridge Academy in the Bronx. She did not return a call to her office yesterday afternoon seeking comment.
+She was a litigation associate at Paul, Weiss, Rifkind, Wharton & Garrison when Mayor Giuliani named her to the landmarks commission in 1994. She attended Hunter College High School and went on to earn degrees from Cornell University, Princeton University's Woodrow Wilson School of Public and International Affairs and Harvard Law School.
+Dr. Gora, who has been at Old Dominion since 1992, graduated from Vassar College and earned a doctorate in sociology from Rutgers. She has written books on the impact of the women's movement on crime trends and on volunteerism in health care.
+Dr. Stockwell has been chancellor at the University of South Carolina's Spartanburg campus -- like CUNY, an urban university, though a much smaller one -- for six years. He graduated from Cedarville College in Ohio and holds a doctorate in theater from Bowling Green State University. He has worked at public university systems in New York, California, Indiana and Wisconsin.
+Dr. Williams, who attended Ball State University as an undergraduate, earned a Ph.D. in political science and a law degree from George Washington University. He served as a legislative aide in the United States Senate and as a deputy sheriff in Muncie, Ind., while in college. Last year, he was president of the Association of American Law Schools.
+Dr. Gora, Dr. Stockwell and Dr. Williams all said last night that they would accept the invitation for further discussions.
+The presidency of Hunter has proved to be a springboard for others who held the position, including Paul LeClerc, who left Hunter to became president of the New York Public Library, and Donna E. Shalala, the United States secretary of health and human services, who left Hunter to become chancellor of the University of Wisconsin at Madison."
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+WHEN he talks about soil acidity and maple trees, Allan McCarty sounds more like a botanist than a pool-cue guru. 'Michigan has sandy soil, and when it rains it doesn't hold the moisture,' said Mr. McCarty, co-founder of Predator Cues of Jacksonville, Fla. As a result, he explained, Michigan hard maple never becomes too waterlogged, so the wood retains a whitish hue rather than turning a mushy gray.
+His fascination with the nuances of wood discoloration is more than a hobby. Predator Cues uses only unblemished Michigan maple in its top-of-the-line Z Shaft. Lighter and more tapered than other shafts -- the skinnier halves of cues -- it is intended to minimize what modern players call cue ball deflection.
+The Z -- priced at $245, more than twice the cost of most conventional shafts -- is so slender at the tip that the weight of the cue ball pushes it aside upon contact. Bigger conventional models, by contrast, slam through the shot, adding unwanted, unpredictable spin.
+'By reducing the end mass, we allow the cue ball to push the shaft aside,' said Mr. McCarty, whose interest in reducing cue ball deflection traces to a big-money game he botched in 1992. 'That's instead of the shaft pushing the cue ball offline.'
+The Z Shaft's predecessor was the 314, which takes its name from a decimal-free approximation of pi. Both shafts are composed of 10 wedges shaped like pie slices, fused into a cylinder. When Mr. McCarty and his business partner, Steven Titus, began researching shaft design in the early 1990's, they discovered that the direction of the grain in the shaft's wood correlated with the direction in which it sent a cue ball askew. Joining together 10 pieces with differing grains mitigated that effect.
+When the 314 was introduced in 1995, Mr. McCarty and Mr. Titus already knew that a more conical taper would improve performance. But the pool world, Mr. McCarty said, simply wasn't ready for the odd-looking Z Shaft, which looks frail next to the thick cudgels that line pool-hall walls. Development began in earnest in 2000, once the Predator brand had earned enough trust among pool aficionados.
+To test the Z Shaft's novel shape, Predator enlisted the aid of Iron Willie, the company's 70-pound robot. Equipped with an elbow that never tires, Iron Willie was charged with shooting a cue ball toward a piece of carbonless copy paper, moving five millimeters to the right or left and then shooting again -- and again and again -- until Predator determined exactly how much taper could virtually eliminate cue ball deflection without making the shaft susceptible to fracturing.
+The shaft is so slender that it produces a fair amount of tactile feedback when it meets the cue ball. After a few hundred games, Z Shaft users can sense the pleasant vibration that indicates a perfectly struck cue ball, versus the rough twitter that accompanies an uneven stroke.
+Great care is taken in selecting the wood for Z Shafts, 10,000 of which have been sold since the introduction in July 2003. The century-old Michigan hard maples must be quarter-sawn, which only a small percentage of the nation's mills can do. Mr. McCarty also noted that Predator uses only maples that have already been harvested for syrup. 'If there's sugar left in the trees, it leaves these brown lines in it,' he said.
+As it did with the 314, Predator has marketed the Z Shaft by putting it in the hands of what Mr. McCarty calls 'influencers' -- touring professionals, of course, but also expert players who haven't quite cracked the big time or are simply content to be big fish in little ponds.
+'We might go into a space like Columbus, Ohio, where there's a No.1 player who isn't quite good enough to make it on the pro tour, but to the average player he looks like a champion,' Mr. McCarty said.
+Average players in Columbus, consider yourselves warned: if a pool-hall habitué ever challenges you to a money game, and you notice a 'Z' embossed on his cue, run away as fast as you can.
+OPENERS: THE GOODS"
+False,False,False,True,True,True,True,False,False,False,True,False,False,False,False,False,True,False,False,False,True,True,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,True,False,True,False,False,False,True,False,False,True,False,True,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Excerpt From Address on Immigration
+Following is an excerpt from Mayor Rudolph W. Giuliani's address to a conference on immigration at the University of Minnesota in Minneapolis yesterday, as transcribed by The New York Times.
+Immigrants are exactly what America needs. They're what we need economically, and I think they're what we need morally -- because we're a country that doubts itself right now.
+There's nothing better than having a lot of people show up that understand why you should be here, better than we do. Really. The thing that revitalizes America and gets it back to its sense of confidence again -- I mean, to have somebody come here and explain to you why they came to America might be the very reason why large groups of people kind of wake up and realize how lucky they are to be here, and how much there is to offer, and how the opportunities are there. And sometimes, it's just the change in attitude that is necessary to see how to use that opportunity.
+All of these immigrants that come here help us with the work they do, they challenge us with new ideas and new perspectives, and they give us perspective, which is what I'm talking about. This is still the nation that more people around the world want to come to than any place else in the world.
+That has to tell us something about ourselves, very, very deep in our soul. If around the world this is the place people want to come to so much, maybe there's more here than many of us realize, and that many of us can take advantage of.
+And I believe we need to be reminded of that. We need to be reminded of that so that we don't take what we have for granted.
+The anti-immigration movement that's now sweeping the country in my view is no different than the movements that swept the country in the past. You look back at the Chinese Exclusionary Act, or the Know-Nothing movement -- these were movements that encouraged Americans to fear foreigners, to fear something that's different, and to stop immigration."
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+Among the people celebrating North Carolina's national championship in men's college basketball last week was Vaughn D. Bryson, the former chief executive of Eli Lilly -- and a former first baseman for the university's baseball team.
+Mr. Bryson, along with his wife, Nancy, and their two grown children -- all North Carolina alumni -- were courtside in St. Louis for the N.C.A.A. championship game, in which North Carolina's Tar Heels beat Illinois, 75-70. 'This was so exciting, being there for the national championship,' said Mr. Bryson, 66.
+He knows what it feels like to get close to a national title, without winning. Before Mr. Bryson began his 32-year career at Lilly, culminating with a stint as president and C.E.O. from 1991 to 1993, his Tar Heels baseball team made it to the College World Series, an eight-team tournament, in 1960. They lost in the early rounds of the double-elimination tournament to Minnesota, the eventual winner, and to Oklahoma State, whose pitcher Jim Wixson threw a no-hitter.
+Mr. Bryson received a bachelor's degree in pharmacy and started a career that led to managing Lilly, a Fortune 500 company. After leaving the company in 1993 during a dispute with Richard D. Wood, then the chairman, Mr. Bryson spent two years running Vector Securities International, an investment banking firm focused on health care companies.
+These days he is busy on several fronts. As president of Clinical Products Inc. in St. Louis, Mr. Bryson talks about the benefits of the Extend Bar, a snack made with uncooked cornstarch. The snack can help people with hypoglycemia or diabetes, he said. 'Most of our sales are through Walgreens and the Internet right now,' he said. 'We're really just getting started.'
+He is also on the boards of four public companies: Amylin Pharmaceuticals, AtheroGenics, ICOS and Chiron.
+He and his wife divide their time between homes in Michigan and Vero Beach, Fla., and are benefactors of their alma mater. In March, they pledged $5 million to establish a clinical genetics research center at the campus, in Chapel Hill. They have also set up an endowment for the baseball program.
+Robert Johnson
+OPENERS: REFRESH BUTTON"
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+After evaluating hundreds of disabled welfare mothers for a new city workfare program, officials at four nonprofit agencies said yesterday that most of the women could not work because they were too ill, had to care for disabled children or lacked enough interest in the program.
+Of the 410 mothers screened on Saturday, only 36 percent will be considered for the work program, the officials said. The agencies will continue to interview disabled women over the coming months for the program, which is Mayor Rudolph W. Giuliani's newest welfare initiative. But while the officials stressed the importance of the project to the mothers who will participate, they now have doubts about how many will.
+'I don't think there are going to be as many people participating as we had thought,' said Linda Turner, director of rehabilitation services at Goodwill Industries of Greater New York. 'There's a significant percentage of these folks that are quite seriously disabled.'
+The preliminary reports from the agency officials came yesterday as city officials and advocates for the poor fiercely debated the value of the new program, which will require disabled welfare mothers to work in jobs tailored to their specific impairments.
+The new policy began this weekend when city officials ordered about 800 women to report to welfare offices for screening into the new 20-hour a week workfare program. It was unclear last night why only half of that group actually showed up for interviews, but state officials, who helped finance the project, said as many as 12,000 mothers may ultimately participate.
+Under the old system, disabled mothers were exempt from workfare requirements unless a city doctor certified that they could work. City officials contended that, as a result, those women were denied desperately needed job training, work experience and career counseling.
+But advocates for the poor say the new system endangers welfare mothers who have already been classified by city doctors as permanently or temporarily unemployable.
+Officials at the four nonprofit agencies conducting the screening said they found some women eager to work and some who appeared to be too severely disabled to participate. The agencies are Goodwill Industries, the Federation Employment and Guidance Service, the Brooklyn Bureau of Community Service and the National Society for Disability Services.
+The federation agency found 116 mothers who will likely participate in the new program. Most suffered from mental illness, asthma and chronic back pain. They were given an appointment for a more complete evaluation, which will be reviewed by the State Office of Vocational and Educational Services for Individuals With Disabilities.
+Those women will ultimately work 20 hours a week for three months, and 35 hours a week after that, while receiving career counseling, job search training and other services.
+'In our experience, a lot of them don't think they're up to working, but they welcome the opportunity,' said Al Miller, chief operating officer of the federation agency.
+On the other hand, officials at the Brooklyn Bureau of Community Service found only three employable mothers in a pool of 60.
+'They're pretty seriously disabled, and work may not be appropriate for them,' said Norma Martin, assistant executive director of the Brooklyn bureau. 'We're not here to try to force people who are severely disabled to work if they can't work.'
+Debra Sproles, a spokeswoman for the Human Resources Administration, which runs the city's welfare programs, said she could not comment on the private agencies' findings without reviewing them first. She could not say what would happen to those disabled mothers who did not enter the workfare program."
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+Yesterday morning at the Brooklyn Bureau of Community Service, five adults gathered for the weekly meeting of an unorthodox book-of-the-month club.
+The readers are not linked by a love of murder mysteries, biographies or romance novels. They share a more profound bond: they have all suffered the ravages of severe mental illness, and are eager to improve their lives.
+The reading comprehension workshop is part of Project Moving On, a program that provides psychiatric counseling, medication, vocational training and educational opportunities for 75 mentally ill New Yorkers. The workshop meets every Thursday morning at 285 Schermerhorn Street in downtown Brooklyn, at the offices of the Brooklyn Bureau of Community Service, one of the seven local charities supported by The New York Times Neediest Cases Fund.
+The workshop was founded in 1995 by Sara Faison, a retired public relations officer who had raised a child with a mental illness. She volunteered to lead meetings and select appropriate books for the group. The books had to be engaging but not overly complex, because when the workshop began, most of the participants could barely read or remember what they read.
+Although Ms. Faison knew they might spend years on improving their skills, she formed the group because, she said, 'I wanted to do something hands-on, where I knew I could make a difference.'
+At first, the going was rough. The readers did not understand the irony in 'The Ransom of Red Chief.' They did not like books in which the bad guys won in the end.
+But Ms. Faison persisted, and eventually found books they enjoyed. They have read about Odysseus's battle with the Cyclops, a biography of Malcolm X and a book about a woman battling schizophrenia.
+The difference Ms. Faison hoped to make became clear yesterday as each student in the workshop offered a testimonial to its benefits. Monica Hutchinson, a woman from Brooklyn who is afflicted with schizophrenia, said that before she joined the group in 1995, she could barely read a restaurant menu or a subway sign. She frequently got lost and would spend hours riding the trains without getting where she needed to go.
+Ms. Hutchinson said that over the years, her reading has improved immensely, and the effort she puts forth in the weekly meetings has helped strengthen her memory.
+'I don't get lost anymore, I don't wander the subways anymore; I make it straight home,' she said.
+At yesterday's meeting, the students took turns reading aloud from a biography of Bill Cosby. When they stumbled over words like 'popularity' or 'dialogue,' Ms. Faison gently offered them a chance to pronounce the word correctly. Frequently, the second time was the charm.
+Ms. Faison also asked students questions about the text. One passage was about Mr. Cosby's refusing to make a road trip to Toledo with his Temple University football team because he had a conflicting appointment to do stand-up comedy.
+'Does anybody know where Toledo is?' Ms. Faison asked. 'In Spain?' suggested Carmen Lopez, a formerly homeless woman from Bushwick. Ms. Faison explained that Ms. Lopez was half right.
+Members said they gained more than just concrete knowledge from the reading group.
+Cornell Chapman, a seventh-grade dropout, said he had come to feel much better about himself in the year since he joined the group. Mr. Chapman, 31, spent years trying to silence the voices in his head by smoking crack cocaine. Then he learned last year that he had the virus that causes AIDS.
+Instead of despairing, he has decided to make the best of his situation. Mr. Chapman has stopped using drugs, and is now working to obtain his high school graduate equivalency degree. He said the workshop had helped him improve his reading skills and increase his vocabulary.
+'It bothered me a lot not being able to read,' he said. 'I felt that I could never become an independent person. But now I've got a second chance to be somebody.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these  organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station, P.O. Box 4100, New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded $5,287,868.83  Recorded yesterday 15.398.00
+Total $5,303,266.83
+THE NEEDIEST CASES"
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+'There is a real concern that we will lose the nation's attention the longer this takes.'
+BOBBY JINDAL, a Louisiana representative, on the hurricane relief efforts in his home state. [A1]"
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+Mental illness has become less and less a family secret. Today, MARY WALLACE, the wife of MIKE WALLACE, the correspondent on CBS's '60 Minutes,' will receive the first National Family Achievement Award from the National Alliance for the Mentally Ill, a nonprofit group in Arlington, Va., and Pfizer Inc., the pharmaceutical company.
+Mrs. Wallace is being recognized for her support of her husband when he became clinically depressed in the 1980's and for her work with other families with the same problem. The ceremony is at the Rainbow Room in New York at noon.
+When Mr. Wallace first became ill in 1985, he was able to function at work, she said, but he came home depressed. He was waiting to testify in the trial of the libel suit against CBS by Gen. William C. Westmoreland, which involved a documentary narrated by Mr. Wallace.
+'Everything looked dark, black and futureless,' Mrs. Wallace said yesterday in a telephone interview. 'He reacted the way everybody with clinical depression acts. He sees the half-empty glass, except it's all empty. The person who's living with someone like that thinks they've done something wrong, starts feeling guilty, doesn't know what to do, gets into self-doubt, starts resenting it, and gets angry and wants to run away.'
+CBS was vindicated when General Westmoreland agreed to drop the suit after former aides gave testimony that essentially confirmed the assertions made in the documentary.
+CHRONICLE"
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+Former Vice President DAN QUAYLE may be moving to Arizona, but he will always be a Hoosier at heart -- and maybe in the polling place.
+Mr. Quayle is taking a teaching position at Thunderbird, an international management graduate school in Glendale, Ariz., starting in February. But though he is selling his home in Carmel, Ind., The Associated Press reported yesterday that he hopes to establish legal residency in Huntington, Ind., at an apartment above The Huntington Herald Press, the newspaper owned by his family.
+'Dan Quayle wants to vote in Huntington because he is a Hoosier, and Huntington is his home,' said Anne Hathaway, Mr. Quayle's spokeswoman.
+ANDY NEWMAN
+CHRONICLE"
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+In the hours after Trans World Airlines Flight 800 exploded in flames, the airline issued conflicting statements about how many passengers had been on board. It took 12 hours to verify the passengers' identities and determine that certain travelers, including three people bound for Rome, had not in fact been on the ill-fated plane.
+Federal investigators now say T.W.A.'s early confusion about the number and identity of the passengers has set off alarm bells about a possible breach of aviation security. Law enforcement officials say they have suspicions about the airline's procedures for handling checked baggage and are closely examining whether it would have been possible for someone to put a bomb in a piece of luggage, check it through to Paris and not board the plane.
+Security experts say the system of matching bags to passengers in United States airports is more vulnerable to deception and inaccuracy than the system at European airports, where security guards monitor the process at each critical step. In the United States, most airlines have bag-matching systems that are similar to T.W.A.'s, and investigators say that any flaws found in the bag-matching procedures for Flight 800 could raise questions about the quality of other airlines' procedures.
+'There is no way any bag on its way to the U.S. can get onto a plane without going through security,' said Philip Baum, who until recently was a senior official with the T.W.A. subsidiary that handles security at overseas airports. 'But coming out of the U.S., it's a different story.'
+A T.W.A. spokesman, Mark Abels, said the airline had made sure that every checked bag in the cargo hold belonged to someone on board.
+'Every piece of luggage on the plane was matched to each passenger and accounted for,' Mr. Abels said. He acknowledged that it took T.W.A. hours after the crash to verify the number and identity of the passengers, but said the confusion bore no relationship to the airline's control of the luggage. He pointed out that Flight 800's departure was delayed for an hour, in part because some luggage was removed to await the passenger who had checked it.
+Investigators have said that the forward sections of Flight 800 were separated from the rest of the plane by an explosion. Although they have not reached a definitive conclusion, a leading theory is that a bomb in the forward cargo hold, in a toilet cubicle or on a food cart blew off the front of the plane. The front cargo hold contained only checked luggage, according to investigators.
+Compiling accurate passenger lists and matching each checked piece of luggage to a specific passenger are cornerstones of aviation security. Congress passed a law in 1990 requiring airlines to confirm that every checked bag belongs to a passenger on international flights. The legislation stemmed from the 1988 downing of Pan American Flight 103 over Lockerbie, Scotland, a disaster caused by a bomb planted in luggage that had been checked by a passenger who never boarded the plane.
+'The passenger manifest and the luggage match is a critical part of security,' said Kurt Wurzberger, director of security operations at the Fairfax Group, a security consulting company in Falls Church, Va. 'If an airline is not using that system the way it is designed, it could create a serious vulnerability.'
+The 1990 law also required airlines to compile a complete passenger list, including full names, passport numbers and emergency phone numbers, for international flights. Airlines must make this information available within three hours of any crash occurring outside the United States. A proposal currently in Congress would require airlines to make an accurate list available soon after the crash of a domestic flight.
+But while the bag match requirements have been put into effect, the passenger list law has not, in part because of opposition by airlines.
+At 9 P.M. on July 17, some 30 minutes after the crash of Flight 800, T.W.A. officials began trying to confirm the identity of those aboard, Mr. Abels said. At 11:30 P.M., they put the number at 229. Twelve hours later, they changed it to 228. Finally, late that afternoon, airline officials confirmed that 230 people had actually been aboard.
+Mayor Rudolph W. Giuliani has said that he and his staff repeatedly beseeched the airline for an accurate passenger list so that anguished family members could know if relatives were on board. At various times during the night of the crash, the Mayor said, airline officials told him they could not produce an accurate list because the F.B.I. or other law enforcement agencies had taken crucial records -- or because the National Transportation Safety Board had told them not to release the information. Both Mayor Giuliani and a safety board spokesman later called the explanations untrue.
+In their effort to make the identifications, airline employees were scrambling to compare differing lists of passengers with boarding passes and telephoning airports around the country for information on passengers who had started their trips in those cities.
+Mr. Abels said discrepancies in the passenger list do not prevent the airline from correlating the names of those who checked bags with the names on tickets collected at the gate. Confusion about names of passengers, he said, sometimes arises because people traveling together book their tickets under one name. He added that there was not always a direct connection between the number of passengers who check bags and the number on board, because some take only carry-on bags.
+Still, aviation security experts said that bag-matching systems used by airlines at American airports are not as tightly controlled as those used by the same companies in Europe. At major European airports, security guards are posted at points where luggage is collected or might get mishandled, said Mr. Baum, formerly manager of training and auditing for the T.W.A. subsidiary that handles security overseas.
+Mr. Abels said that every piece of luggage checked by an international passenger is marked with an electronic bar code. It then travels to a cargo area where it is sorted according to flight, packed into a container and loaded onto a plane. As passengers board the flight, their names are typed into a computer and matched against the names of those who have checked bags until all the luggage is accounted for.
+Although many carriers follow similar procedures, a spokesman for Delta Air Lines, Bill Berry, said the airline loads each international passenger's luggage after the passenger boards the plane.
+A former director of security for Northwest Airlines, Douglas R. Laird, said bag-matching procedures used in the United States provide good safeguards against terrorism, but are not fail-safe, in part because they depend on properly trained and honest baggage handlers. Federal investigators say they have questioned baggage handlers who loaded luggage onto Flight 800.
+Now, they are also scrutinizing the passenger manifest to make sure it accurately represents all those who boarded the plane.
+At the request of the Immigration and Naturalization Service, United States airline representatives at European airports already collect detailed information on passengers bound for this country by using computers to read passports.
+Soon, airlines will be required to provide more detailed information  more quickly about outbound international passengers than T.W.A. was able to do after the crash of Flight 800. Several other airlines, like Delta and United, said they already can provide a verified passenger list in as little as one or two hours.
+Just six hours before the July 17 crash, Government officials, airline  representatives and victims' advocates held a conference call to hammer out a plan for implementing the 1990 law requiring airlines to improve their information-gathering on international passengers.
+One of the victims' advocates, M. Victoria Cummock, who lost her husband in the Pan Am 103 explosion, said that during the conversation, she had expressed her frustration with the six-year lag in putting the law into effect.
+'What's it going to take?' Ms. Cummock recalled saying. 'A plane getting blown out of the sky on American soil?'
+THE FATE OF FLIGHT 800: THE AIRLINE"
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+On the day in 1986 when the police in Flushing, Queens, received a call that a homeless man was sleeping in their neighborhood's sidewalks, they did not have to go far to find him. The man, Michael Smith, then 43, slept behind the police station. The police picked him up and had him taken to the Bellevue Hospital Center psychiatric ward.
+'I wasn't sick,' Mr. Smith explained. 'I was drunk.'
+He had trouble explaining himself to the police, though, because he is deaf, and was probably experiencing the same mental illness that has since been diagnosed as a psychotic disorder, according to a social worker who helps him, Roberta Ahouse.
+When he is not taking his medications, Mr. Smith can easily become agitated, especially when he talks about his finances, and can be paranoid, at times thinking people are talking about him. And although he was born fully deaf, before he started taking his medications he sometimes heard voices that he thought were coming from people he saw on television.
+But after spending two years at Bellevue, Mr. Smith moved to a supportive apartment building, the Terence Cardinal Cooke Residence in the Fordham neighborhood in the Bronx. The residence, which has space for 24 mentally ill deaf people, is run by the Beacon of Hope House, part of Catholic Charities of the Archdiocese of New York, one of the seven local charities supported by The New York Times Neediest Cases Fund.
+Many of those who live in the Cooke residence have schizophrenia or, like Mr. Smith, have symptoms similar to those of schizophrenia. Alan Bernstein, the director, said that one of the main aims of the Cooke residence was to get those who live there to interact with their peers.
+'It is an isolating disease, and it is very difficult,' he said. 'But it's even more difficult when you're deaf and your ability to communicate with people is extremely limited.'
+After six years at the Cooke residence, Mr. Smith moved to an apartment in the Allerton neighborhood in the Bronx. He lives there now with a roommate. The apartment, like three others nearby that serve mentally ill deaf people, is run through the Beacon of Hope House's East Bronx Supported Housing Program.
+Ms. Ahouse comes by every two weeks to check on Mr. Smith, to make sure he is taking his medications. 'He is a model client,' she said. 'He always takes his medication.'
+Mr. Smith, who lived with his parents for most of his adult life, said his new apartment was a step up from the group residence. 'When I moved in my apartment here, it made me very happy,' he said in sign language as Bernadine Virani, a case worker at the Beacon of Hope House, translated. 'I can watch TV when I get ready to go out; I am more enthusiastic.'
+Besides the freedom it allows him, one of the greatest benefits of the supported housing program is that it gives him a number of people nearby whom he can communicate with. 'There's deaf people here, and I can associate here,' he said. 'It's a freer atmosphere.'
+Though Ms. Virani is sometimes able to translate for Mr. Smith, she cannot be there for him and for the other clients all the time. The Beacon of Hope House trains all its social workers, including Ms. Ahouse, in sign language. But there are still times, as at a recent talent show, that outside sign language translators must be hired so that the deaf do not feel left out.
+Mr. Bernstein believes that New York State, which pays for the mental health services the Beacon of Hope House provides, should also pay for the interpreters' services, which can cost $100 an hour, and for other specialized services that are provided to deaf and hard-of-hearing people. He has helped form a coalition that is advocating that public money be used for services for the deaf. In the meantime, the costs are  paid for by Catholic Charities, which uses money it receives from the Neediest Cases Fund.
+But for Mr. Smith and the other beneficiaries of the services, how they are paid for is of little importance. For Mr. Smith, the most important thing is that he can live on his own and support himself. As he put it, 'I am very happy here.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these  organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station, P.O. Box 4100, New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Donations may be made with a credit card online, courtesy of the Qpass digital commerce service, at www.nytimes.com/neediest. Online donors receive a free trial subscription to the crossword puzzle of The New York Times on the Web.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded: $7,682,925.53  Recorded Friday: 9,390.00  Total: 7,692,315.53  Last year to date: 5,616,543.62"
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+Lucille Cohen, a leader among those in her residence in Coney Island, lighted the menorah on Wednesday, just as she used to do during Hanukkahs with the three daughters she raised by herself in Bensonhurst, Brooklyn.
+But in between, there was a period of darkness that sent her life into turmoil and eventually led to a brief stay in a psychiatric ward.
+'I always have a satisfied feeling when I watch the candle lighting,' she said. 'I'm very touched.'
+Before mental illness was diagnosed in Ms. Cohen, 55, she worked as a secretary and a tabulator of financial statistics for two New York City accounting firms.
+About 10 years ago, with her children grown up and out of the house, she decided to get a college degree and enrolled at Kingsborough Community College.
+'I was walking down the hall crying,' she said of her first day at the college. 'I couldn't believe that my feet were on college property. It was like being on the moon.'
+Success there led her to transfer to the State University of New York College at Plattsburgh. But Ms. Cohen said she felt out of place among the younger students. When she was close to getting her degree, she said, she had a nervous breakdown after two dormitory neighbors started taunting her.
+She was taken to Columbia-Presbyterian Medical Center for evaluation, and was found to have 'major depression with psychotic feature,' Ms. Cohen said.
+She was released from the hospital after three weeks, but had no place to live because she had given up her apartment when she went to SUNY. She was referred to two support centers for mentally ill adults, both run by the Coney Island Community Support Services Project. She lives at one center and receives daytime therapy and counseling at the other.
+The centers receive money from the Jewish Board of Family and Children's Services, a beneficiary of the UJA-Federation of New York, one of the seven local charities supported by The New York Times Neediest Cases Fund.
+Ms. Cohen participates in several therapeutic sessions, including a small discussion group on families and relationships, and others that use art and poetry. Above all, she is provided with a stress-free setting.
+While finding a place to stay with other residents was important to Ms. Cohen's sense of well-being, said Cary S. Wagner, director of the support services project, the daytime programs are essential for treating her mental illness. 'If she were referred to her apartment, I think she would have remained more or less reclusive and paranoid,' he said.
+'At this junction in her life, she really had several needs,' Mr. Wagner said. 'One was for treatment and proper medication, and the other was for her not to be isolated and alone. The adult home provided that structure and other people around her. It helped reduce her isolation.'
+Most people who come to the centers are referred by psychiatric hospitals and are likely to be there 10 to 20 years, or sometimes for the rest of their lives.
+The residents often lead normal lives before arriving at the centers, but some specific and stressful event causes them to become emotionally unstable, Mr. Wagner said. 'The idea is to provide a safe, nonstressful environment,' he said. 'If you move too quickly with this population, they are thrown back' into instability.
+Ms. Cohen, who is president of the residents' council in the building where she lives, is one of the clinic's most able clients, Mr. Wagner said.
+Ms. Cohen said she receives requests for help from other residents at least once a day. She said, 'Everybody knows me over at Seabay,' the name of her residence building. 'When they have any issues with the administration, they come to me and ask me to intercede for them.'
+Ms. Cohen said she wanted to enroll again at Plattsburgh, even though she was worried about how she would react when the memories came flooding back. She says she wants to get her degree and start a career as a psychologist, but she still needs to raise tuition money.
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these  organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station, P.O. Box 4100, New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Donations may be made with a credit card online, courtesy of the Qpass digital commerce service, at www.nytimes.com/neediest. Online donors receive a free trial subscription to the crossword puzzle of The New York Times on the Web.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded $2,144,039.97  Recorded yesterday $42,276.00
+Total $2,186,315.97
+THE NEEDIEST CASES"
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+Party Prescriptions Elude Patients
+The model and former MTV D.J. KAREN DUFFY says that several hundred invitations to the party for her book, 'Model Patient,' were not delivered, and she suspects the messenger made off with them.
+The ones that she sent by mail made it, she says, but the rest are probably being sold on some street corner somewhere.
+The problem is that the invitations looked like prescription bottles, with the phrase 'You are prescribed to have a good time' where the medication, dosage and doctor's name would normally appear. Each bottle was filled with pink and white licorice-flavored candies that looked like pills, the kind one would probably need a prescription to obtain if they contained something stronger than candy.
+'Some people do their job too well,' said Ms. Duffy, who appeared in several Woody Allen films and is now a correspondent for MICHAEL MOORE'S television program 'The Awful Truth.'
+'Maybe I worked a little too hard to make it look authentic. But I wonder: Are there a bunch of people at nightclubs ingesting my invitations? I mean, I worked three years on this book, and my mother-in-law and my sisters and friends who are all talking to each other didn't get invited, and I'm trying to get myself out of the doghouse.'
+Her manager, PEG DONEGAN, said that Ms. Duffy's guest list had 500 names; Ms. Duffy said that 400 were to be delivered by a messenger service.
+'We started calling the list,' Ms. Donegan said. 'More than half don't seem  to have gotten to their rightful people. She sent a bunch to her doctors at New York Hospital, and they didn't get through. HARVEY WEINSTEIN'S didn't get through. I didn't even get mine.'
+Conroy and Citadel Lay Down Arms
+PAT CONROY'S alma mater, The Citadel, banned his first book and refused to let cameras on campus for the film version of another. But now Mr. Conroy and The Citadel, in Charleston, S.C., have gone beyond the truce or cease-fire stage. Tomorrow, The Associated Press said, The Citadel will confer an honorary degree on Mr. Conroy.
+'It comes as a shock, but a nice one,' he told A.P. Then Mr. Conroy, 55, who graduated in 1967, added: 'I never penciled this in on the lists of awards I'd get in my life. I didn't want to be 70 years old and fighting with my college.' His 1980 novel 'The Lords of Discipline' was about a cadet's first year at a renowned military institute in -- where else? -- Charleston, S.C.
+Remembering A Prime Minister
+The napkins were printed with sayings from the hostess's grandfather: 'All men are worms -- I am a glowworm!' and 'I have never promised anything but blood, tears, toil and sweat.'
+The hostess was EDWINA SANDYS. Her grandfather was Winston S. Churchill. And the napkins were for a party at (appropriately enough, considering the hostess) the New York Genealogical and Biographical Society, on East 58th Street near Park Avenue.
+The party was for the Winston Churchill Memorial and Library in the United States, which is in Fulton, Mo.
+The historian JAMES HUMES recalled meeting Churchill in 1953, when Mr. Humes was an 18-year-old schoolboy. 'He put his hand on mine and said, 'Study history. In history lie all the secrets of statecraft,' ' Mr. Humes said. 'So I went back to my room and tore down the picture of Ted Williams and put up one of Winston Churchill.'
+Mr. Humes saw Churchill again in 1959, at Andrews Air Force Base.
+'It was raining, and there was a crowd to see him off, people like Walter Lippmann, who wouldn't cross the street to see General Eisenhower,' Mr. Humes said.
+He moved across the floor in an imitation of Churchill going across the tarmac and climbing the steps to the airplane. 'He turned and said, 'Farewell to the land of my . . . mother,' with that exquisite pause. I'm a coward, but I'd have charged the trenches on that one. Lippmann had tears in his eyes.'
+JAMES BARRON"
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+Lampreys are ugly, toothy, eel-like, parasitic creatures that latch onto fish, and they reportedly taste like liver. Mmm, you say, let's order up a mess! You may get the chance. For the past year, researchers at the University of Minnesota have been testing lampreys from the Great Lakes on Portuguese diners, who have enjoyed Atlantic-dwelling lampreys for years. The idea is to see if the American lamreys, which are despised threats to commercial fishing, are tasty enough to be got rid of via export, abroad and at home. And? 'They're firm textured, but not chewy,' says Jeff Gunderson, the project's leader. 'My wife said they made her think of beef.' Wistfully, no doubt.
+Sunday December 15, 1996"
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+Sarah Lawrence College is to officially announce today that its next president will be Michele Tolela Myers. Dr. Myers, 56, the president of Denison University in Ohio and chairwoman of the American Council of Education, will succeed Alice Stone Ilchman next August.
+Dr. Myers, who was dean of the undergraduate college at Bryn Mawr before going to Denison, said that Sarah Lawrence is in good shape academically, with entering students averaging 1190 on their S.A.T.'s and with 70 percent going on to pursue graduate studies.
+But she said the liberal arts college, in Yonkers, N.Y., badly needs financing. It has 1,111 undergraduates and 277 graduate students, but its endowment is only $30 million, and it has run deficits recently.
+METRO NEWS BRIEFS: NEW YORK"
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+Natallia Biahliak's two sons, Igor, 7, and Nikita, 10, started school the first week of September, just like many children across the country.
+But while Ms. Biahliak and her husband, Andrei, watched the children in their neighborhood in Bensonhurst, Brooklyn, begin the school year, they could only hear about their own children's first day in school over the telephone from Minsk, Belarus, their hometown.
+Their dream of finding better opportunities and medical care for Mr. Biahliak in America has evaporated as the separated family struggles emotionally and financially.
+Because Mr. Biahliak has brain cancer and is unable to work, he and his wife cannot afford to care for their sons. One month after they all moved to the United States in April, the Biahliaks sent their boys back to Minsk to live with Ms. Biahliak's parents.
+Ms. Biahliak communicates with her sons through e-mail. Speaking on the telephone is too difficult for them.
+'When it happened with Andrei's sickness, it was too much,' Ms. Biahliak, speaking with the help of a translator, said of the painful decision to send her children back.
+Mr. Biahliak, who was a tile worker in Belarus, found out in 2005 that he had brain cancer. Doctors there removed some of the tumor, but they said that parts of it were very close to a major artery.
+After receiving green cards to move to the United States, they moved in with a friend in Stamford, Conn., in April. But because neither of the Biahliaks speaks English, and the couple has no car, they found that their opportunities were limited.
+They decided that New York City -- with its public transportation system, wider employment opportunities and large population of Russian-speaking immigrants -- would give them a better chance of establishing a new home. Still, it proved too hard to keep their children with them.
+To help them adjust, a friend recommended the Marks Jewish Community House of Bensonhurst, a charity affiliated with UJA-Federation of New York, one of the seven beneficiaries of The New York Times Neediest Cases Fund. In addition to providing advice and help with job applications and Medicaid enrollment, their caseworker, Yana Bril, drew on the fund for $800 to help with the Biahliaks' rent, $825 a month, and other expenses.
+The Biahliaks were Ms. Bril's first case as a social worker. On her first day of work, she read about the UJA-Federation's involvement with the fund. As soon as she met the Biahliaks, Ms. Bril thought they were good candidates for the fund.
+'The family just got torn apart,' she said. 'It's very, very sad, and at the same time very inspiring. They're trying to hold it together.'
+In Minsk, Ms. Biahliak, who has an economics degree, worked for the city statistics department. But her limited English prevents her from finding a similar position here. She has found work as a housekeeper and as a nanny to three sisters younger than 5. Her total take-home earnings from both jobs is $224 a week.
+As for Mr. Biahliak, doctors at NYU Downtown Hospital removed most of the rest of the tumor, and he began chemotherapy treatments. In a recent interview, he was visibly drained, resting his head -- shaved and scarred -- on his hand.
+The absence of their sons is clearly a source of sadness for the Biahliaks. They wish they could afford a bigger apartment and airfare for the boys. But meanwhile, they are adjusting.
+'We couldn't dream that here there was such a nice organization,' Ms. Biahliak said in Russian. 'I would be completely lost in my problems without the help.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to 4 Chase Metrotech Center, 7th Floor East, Lockbox 5193, Brooklyn, N.Y. 11245, or any of these organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street  Brooklyn, N.Y. 11217
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street  Brooklyn, N.Y. 11201
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue  New York, N.Y. 10022
+CHILDREN'S AID SOCIETY  105 East 22nd Street  New York, N.Y. 10010
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22nd Street  New York, N.Y. 10010
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South  New York, N.Y. 10010
+UJA-FEDERATION OF NEW YORK  Church Street Station  P.O. Box 4100  New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+Donations may be made with a credit card by phone at (800) 381-0075 or online, courtesy of NYCharities.org, an Internet donations service, at www.nytimes.com/neediest or www.nycharities.org/neediest. For instructions on how to donate stock to the fund, call (212) 556-1137 or fax (212) 556-4450.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget."
+True,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,True,True,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,True,False,True,True,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,True,False,False,True,True,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,True,False,True,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"Some Medical Help for a Disturbed Teen-ager and Stability for His Family
+Maria A. remembers the day she discovered that her son Jonathan was mentally ill. It was a Saturday in June two years ago.
+Jonathan, then 14, had been in a fight, and Maria told him he was grounded. She figured he was going through a rebellious phase and needed to be reined in. But Jonathan threatened to kill himself.
+Later that day, he was admitted to the psychiatric ward of Kings County Hospital Center. He was there for a month, suffering with what psychiatrists call schizo-affective disorder, an illness that can resemble schizophrenia.
+'They tied him down whenever he tried to leave the hospital,' Maria said through a translator. 'I felt horrible because we had very little, and now my biggest fears were coming true. I was afraid my son had gone crazy.'
+The time that Jonathan spent in the hospital was emotionally torturous, Maria said. But there was no great flood of relief when he was discharged: he had to remain under a doctor's care and take expensive medication. And Jonathan was not eligible for Medicaid.
+At the time, Maria and her three children were illegal immigrants, living on the fringes of society. Her husband was in Florida, searching for steady work; Maria, now 41, had no job and was barely scraping by.
+Worrying about her family when everyone was healthy was one thing; knowing that Jonathan's mental health depended on care and medicine that she could not afford was another.
+Then Maria turned to the Jewish Child Care Association, affiliated with the UJA-Federation of New York, one of the seven charities supported by The New York Times Neediest Cases Fund. The agency provided money for Jonathan's medical expenses and helped with the family's daily needs.
+Maria and her husband, Vicente, had left Venezuela and slipped into New York City in 1985 with their two children, Jonathan, then 3, and Johnny, 7. During their first year in New York, Maria gave birth to David.
+Vicente worked intermittently as a carpenter, always off the books and usually for less than the minimum wage. The family was having a hard time getting by. In April 1996, Vicente headed south to Florida in search of steady work. That month, Maria hesitantly registered David, who had been born in the United States and was a citizen, for public assistance. She feared that officials would discover that she was in the country illegally. They did not, and while the $350 that David received every month helped, it did not even cover the rent.
+The next month, Jonathan's behavior began to change. Since his hospitalization in 1996, Jonathan's illness has stabilized. Medication and treatment by a child psychiatrist ended his manic and suicidal episodes.
+And in April 1998, the family's circumstances began to change. Maria and her children became legal residents, her husband returned to stay and she started working in a sweater factory.
+But there are still difficulties. Although Maria, Vicente and Johnny, now 20, all work, but for a total of about $800 a month, and none of them have benefits or job security.
+The family attributes their survival to the Jewish Child Care Association. 'The family's stabilized for now,' said Richard Vargas, a caseworker there.
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these  organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station, P.O. Box 4100, New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded $2,657,785.28  Recorded Thursday $98,570.36
+Total $2,756,355.64
+THE NEEDIEST CASES"
+True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,True,True,False,True,False,False,False,True,False,True,True,False,False,False,False,False,True,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,False,False,True,False,False,False,True,False,False,True,False,True,False,True,False,False,False,False,True,False,True,True,False,False,False,False,True,True,False,False,False,True,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,True,True,False,False,False,True,False,True,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,"Forget Diversity
+'Diversity' must be a very, very good thing; President Bush used the word, or a variant of it, 10 times in his speech last month announcing that the administration would seek to have the Supreme Court declare the undergraduate admissions policies at the University of Michigan unconstitutional. 'I strongly support diversity of all kinds,' said the president, with his flair for hijacking the key words of his opponents, 'including racial diversity in higher education.' As the president knows very well, 'diversity' is precisely what the University of Michigan says its admissions program is designed to ensure. The two sides disagree only about the acceptable means of attaining this supreme good.
+What, exactly, is so great about diversity? After all, when the process formerly known as affirmative action was first established, in the 60's, the goal was to help black people overcome the historic legacy of discrimination. As President Johnson famously put it in 1965, it is not enough to 'take a person who for years has been hobbled by chains, and liberate him, bring him to the starting line of a race and then say, 'You are free to compete with others.'' The goal of affirmative action in employment, which Johnson mandated by an executive order to his Labor Department (and President Nixon continued), was not to create a 'diverse' workplace but to overcome hiring practices that had traditionally excluded or disadvantaged blacks. That remains the rationale for the highly circumscribed workplace affirmative action programs of today.
+But 'affirmative action' carries an explicitly zero-sum connotation; if one group of individuals is being advantaged, another group is, of course, being disadvantaged. From the outset, affirmative action, unlike older policies designed to spur integration, was attacked for establishing invidious racial categories. Universities eager to boost black enrollment fell under suspicion for the same reason. And then came diversity. In 1978, Justice Lewis Powell declared in the Bakke case that universities could offer a 'plus factor' to minority students -- not to overcome the legacy of discrimination but to ensure a diversity of viewpoints.
+Diversity has proved a much hardier rationale for the plus factor than the leg-up metaphor of President Johnson's speech, and for a simple reason: its central message is 'Everyone benefits equally.' Encountering new people and new ideas is a core aspect of the college experience. In 'The Shape of the River,' a scholarly brief for affirmative action, William G. Bowen and Derek Bok cite survey data showing that both white and black graduates of elite universities attach great importance to the ability to get along and work effectively with people of different racial and cultural backgrounds and also attribute 'a great deal' of their ability to do so to experiences in diverse settings in college. The University of Michigan has tried to take this claim one step further by conducting a study that purports to show that both white and minority students learn better in racially diverse classroom.
+Well, really. Does that mean that George W. Bush would have improved on that famous C average if the Yale undergraduate population of the mid-60's had been, say, 12 percent minority rather than maybe 2 or 3 percent? Does that mean that grade inflation is really a dependent variable of diversity? The idea seems absurd on its face. What's more, while I wish I had attended a more diverse institution (I graduated from college in 1976, when affirmative action was young), it's pretty low on my wish list. And my impression from talking to students at two campuses of the University of California, and at the University of Texas Law School, is that for most white students diversity is a pleasant side benefit, like a nice library. It was, on the other hand, a tremendous boon to minority students, who otherwise would have attended less elite institutions.
+The difference in the nature of the benefits is so obvious and overwhelming that I have trouble believing that people really mean what they say about diversity; the whole thing feels like an elaborate charade to keep us from knowing what we're doing. What's more, diversity has a kind of self-perpetuating genius. The old remedial idea of affirmative action implied a time limit, when all contestants would be ready to line up together at the starting line. But since diversity, by contrast, is a good for all, there's no earthly reason to ever stop awarding a plus factor to minority students.
+But diversity, or rather, affirmative-action-as-diversity, is not good for all. In addition to the longstanding problem of disadvantaging some in order to advantage others, the diversity rationale also insultingly assumes that black students bring a black 'point of view,' Asians an Asian one and so on, thus reifying the very barriers of race and ethnicity that affirmative action is meant to erase. And why should racial and ethnic 'points of view' outweigh those forged by class or culture? Why, as a professor recently suggested to me, shouldn't the presence of the R.O.T.C. on campus be seen as a means to ensure representation of a 'military' point of view otherwise absent from elite universities?
+Diversity distracts us from a simple but painful truth, which is that persistent black educational failure (and Hispanic failure, to a lesser extent) has made it impossible for the most selective schools to become substantially integrated using their own traditional criteria of merit. The problem is minority access to elite institutions, not white access to minority students. And perhaps we should say that if an elaborate charade is the only way to guarantee such access, then we shouldn't make a fetish of transparency, or even honesty. Perhaps. But I wonder if eliminating that mechanism wouldn't force universities -- and the rest of us -- to do something about the educational failure that has made affirmative action necessary in the first place.
+THE WAY WE LIVE NOW: 2-2-03 James Traub is a contributing writer for the magazine."
+False,False,True,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,True,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,True,True,False,False,True,False,True,False,True,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,False,True,False,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"Mr. Big
+Q: I understand you just came from Mayor Bloomberg's office -- the royal treatment already and you haven't even seen your first fastball in a New York uniform. How did that go?
+Nice. He works in the middle of the room with everybody around him, right there with his team. I thought, If I was mayor, that's how I'd have it.
+Is he going to help you find an apartment?
+No, I've got that squared away. I've got a place lined up in TriBeCa, a part of the city I never knew about. I was surprised to see how calm it is there. You know, you step outside on your sidewalk and you're not like in front of all the cabs and the business.
+It's quiet, like Connecticut.
+Will you have a posse in TriBeCa? A lot of pro athletes never go anywhere without an entourage.
+My squad never gets bigger than three. I got Brian with me all the time, because he handles all my management. I got my friends Terrance in Boston and Mark on the West Coast -- they come in and out when I need them. It's like a blanket for me. We just keep it that tight and that consistent.
+Is it a culture shock coming from Anaheim?
+Not a shock, no. You know, I'm different from most folks. I like the rat race. I missed it when I was out there. Getting up every morning and competing with everybody who comes across your path -- I like that.
+I like the intensity.
+Do you worry about New Yorkers being too intense? A couple of bad games and people take it personally.
+Am I worried? No. Remember, I came up in Boston, with the Sox. There is no place on earth where baseball is taken more seriously. The fact that they have had no championships there for so long, even though they've come close so many times, it makes people a little crazy.
+They're less crazy in New York?
+New Yorkers have other things going on. At least there's another team. But what I like most is that here I don't stick out like a sore thumb. If I turn my hat sideways, they've seen it before. They've seen a bald head before. They've seen guys my size. The best thing here is that you don't have to worry about what's going on and whether you're going to miss it. Places like Anaheim, if you miss something, it might not be happening tomorrow night or ever again. In New York, it's always happening, whatever it is. You can always find what you want. And that's been real calming for me as a person, as a man.
+This season is a comeback for you, after the most serious injury of your career last year.
+Yeah, a ruptured biceps. It started with a bad ankle, and I fooled with my swing to compensate, and then the muscle in my arm got torn. Had to have the whole thing patched up with an Achilles' tendon from the bank.
+From the bank?
+I don't know what it means, but they said from the bank. It's somebody else's damn Achilles' tendon.
+How did you cope with all the downtime after the surgery?
+It opened my eyes to a lot of stuff. It made me realize I wasn't Superman and that I had to change the way I train and the way I eat. But the biggest thing was just in my head. I always used to worry about retirement, about what it would feel like to be such a big fish out of water. But I learned to do normal things, and I learned to enjoy them.
+Like what?
+Like breakfast. That meal does not exist for baseball players. We don't go to bed until 1 or 2. We're just wired. Then we sleep till 11. So I got used to having a normal breakfast at 9 o'clock, and I found I didn't mind doing it. There were other things too, like rush-hour traffic, that I knew about but weren't really part of my day before. Being a normal person wasn't all that bad.
+I could survive and have a certain identity even if it wasn't always holding a bat.
+Speaking of bats, you're coming to New York at the same moment as another big one, the slugging first baseman Jason Giambi.
+Will you and he be competing for attention?
+I don't care anything about that. I know Jason. I like him. I've hung out with him. And I am rooting for him and all them Yankees because I want them there in October, in the World Series. That's when we'll go head to head.
+Hugo Lindgren
+THE WAY WE LIVE NOW: 3-03-02: QUESTIONS FOR MO VAUGHN"
+True,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,True,True,False,False,True,False,False,True,False,False,False,True,False,True,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,"The Way We Live Now: 4-4-99; What They Were Thinking
+Inmates,  Jackson Correctional Institution,  Black River Falls, Wisc.
+'I'm here for my crime, I've got my time, I'm doing it. It's kind of tight and crampy, but it's how we live. You've got to make the best of it. This is where I spend my quality time. I'm a paralegal and I do a lot of studies, play my keyboard in my room and things like that. I don't have anything to hide. It's the same with my home on the street.' -- Roosevelt Conery, serving time for armed robbery and attempted homicide
+'You've got freedoms in here to a point, if you put your mind to it. When I get off work, I sit out there on the picnic tables and just think. Just think about what I used to do, on the farm, take a walk out in the woods, cut wood, think about Ma's cooking. I can handle the time, but I do not like hearing people saying, 'I'm going home.' You can never say you won't be back in. You will be back in. No matter what.' -- Edward Wolf, serving a life term for first-degree murder"
+False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Developer to Buy Atlantic City Track
+A Michigan real estate developer has agreed to buy the financially troubled Atlantic City Race Course, which was scheduled to close within a month, officials of the track announced yesterday.
+The developer, Samuel Sobel, signed a contract to buy the 53-year-old, 280-acre site that grants him about two months to consider options for developing the track, said James Murphy, the president of the Atlantic City Racing Association, which owns the track. The contract includes a provision that allows track officials to charge patrons to watch live horse-racing broadcasts from around the country, Mr. Murphy said.
+Because of casino gambling's growing popularity, the track has suffered reductions in ticket sales and betting receipts in recent years. Mr. Sobel's lawyer, Jack Plackter, would not discuss specific plans for the track, but he said that Mr. Sobel was interested in developing a sports and entertainment complex. Neither he nor Mr. Murphy would disclose the track's sales price.
+METRO NEWS BRIEFS: NEW JERSEY"
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+A fire in a dormitory at a small Ohio college forced the evacuation of several dozen students early yesterday, but the 93-year-old building's new alarm and sprinkler systems helped awaken the residents and prevent student injuries, fire officials said.
+The fire in the dormitory at Heidelberg College in Tiffen, Ohio, broke out around 4 a.m. and went to five alarms, with firefighters from 14 small departments in Seneca County joining to fight the blaze, said William S. Ennis, the Chief of the Tiffen Fire/Rescue Division.
+The 63 students who lived in the three-story Gothic dormitory, Williard Hall, were evacuated by the time the first fire units arrived, said Jamie A. Abel, a spokesman at the college of 1,700 students, which is 40 miles southeast of Toledo.
+Chief Ennis said the alarm system, along with frequent fire drills, helped prevent injuries. Four firefighters suffered minor injuries, he said. He said the department ran one drill at the school each year and the college conducted drills monthly.
+The fire came three days after a blaze in a freshman dorm at Seton Hall University in South Orange, N.J., killed three students and injured 58. There were no sprinklers in the Seton Hall dorm, and the deaths prompted New Jersey legislators to say Friday that they would introduce bills requiring automatic sprinkler systems in all college dorms.
+The dormitory at Heidelberg College was built in 1907. It had renovations in 1993 that included the installation of alarms and a sprinkler system, Mr. Abel said."
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+At the Summer North American Bridge Championships, the final of the Wagar Women's Teams on Friday resulted in a decisive victory for Judi Radin, Sylvia Moss, Mildred Breed, Pamela Granovetter, Shawn Quinn and Migry Zur Campanile.
+They defeated the team of Betty Ann Kennedy, Val Covalciuc, Linda Lewis, Rebecca Rogers, Peggy Sutherlin and Pam Wittes.
+With the Radin team leading by a tally of 135 international match points to 53 at the three-quarter stage, the Kennedy team conceded.
+In the Spingold Knockout Teams, the semifinals, being played on Saturday, were to finish early Sunday.
+One match was between the team of Nick Nickell, Dick Freeman, Bob Hamman, Jeff Meckstroth, Eric Rodwell and Paul Soloway, and the team of George Jacobs, Ralph Katz, Bobby Levin, Zia Mahmood, Michael Rosenberg and Steve Weinstein.
+The second semifinal pitted a team with Charlie Weed as the nonplaying captain, James Cayne, Michael Seamon, Fulvio Fantoni, Lorenzo Lauria, Claudio Nunes and Alfredo Versace, against Robert Hollman, Curtis Cheek, Billy Cohen, Bruce Ferguson, Joe Grue and Ron Smith.
+The Mixed Board-a-Match Teams competition was won by Beth Palmer, Lynn Deas, Rozanne and Billy Pollack, and William Pettis.
+Finishing second was the team of Margie Gwozdzinsky, Daniela von Arnim, Teri and Drew Casen, Richard Schwartz and Walid El Ahmady.
+The Fast Pairswas won by two Canadians, Nicolas L'Ecuyer and Robert Lebi, who edged Douglas Doub and Adam Wildavsky. In that event, the players have only 11 minutes for two boards, instead of the normal 15."
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+This may seem a bizarre concept to younger readers, but there was a time when, say, arranging a street-corner meeting was a complex task. You would set the time and place, making contingency plans for unforeseen delays, and if you got a detail wrong, the rendezvous would misfire. (Whole movie plots revolve around such missed connections.)
+Now, of course, you can whip out your cellphone and say: 'What's up? 43rd and Madison in five? Got it.' And, six minutes later: 'Where are you?' 'I'm across the street. Turn around.' It's all so easy.
+So when a new University of Michigan survey showed that 83 percent of cellphone users thought the phones had made their lives easier, the only surprise was that it wasn't 100 percent. But does 'easier' mean 'better'?
+Now that's something else, especially when you ponder the irritation of others' phones and, more vital, the loss of peaceful moments when you're blissfully unreachable.
+Hubert B. Herring
+OPENERS: THE COUNT"
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+A United States Senator who has sharply criticized the F.B.I.'s investigation into the crash of Trans World Airlines Flight 800 has written to the agency's Director, Louis J. Freeh, condemning the leadership of the New York office of the bureau, which he said was 'out of control.'
+The Senator, Charles E. Grassley, a Republican of Iowa, said he was writing in response to a letter that he received this week from about 450 New York-based agents and other employees that attacked a Senate subcommittee hearing he held last month to examine the bureau's investigation into the 1996 crash off Long Island.
+In his three-and-a-half-page letter,  which was sent to Mr. Freeh on Thursday, Senator Grassley charged that the agents' letter had been orchestrated by Federal Bureau of Investigation management in New York, which he said was 'clearly trying to wrap its arms around the rank and file as a screen against legitimate criticism of its failures.'
+Senator Grassley added: 'This orchestration smacks of F.B.I. managers resisting legitimate, constitutional oversight by the United States Congress. The F.B.I. is not above the Constitution.'
+At the subcommittee hearing on May 10, the Senator said the bureau's handling of the 16-month investigation had been 'a disaster.' Some witnesses also testified that bureau officials in New York had ignored or suppressed reports that had found mechanical failure, and instead obsessively pursued a theory that a bomb had caused the crash, which killed 230 people on July 17, 1996. Ultimately, the investigation concluded that the explosion was not the result of terrorism or any criminal act.
+Senior F.B.I. officials strongly rejected the criticism at the hearing. The agents, meanwhile, in their letter to Senator Grassley, called his remarks biased and inaccurate, and the hearing one-sided.
+Senator Grassley, in his letter to the Director, avoided direct criticism of the agents, but said the bureau's management in New York had 'felt the embarrassment of its failures.' He asked Mr. Freeh to look into his concerns and report back to him.
+Lewis D. Schiliro, assistant director in charge of the F.B.I. office in New York, declined to comment on the Senator's criticism in the letter to Mr. Freeh, but added: 'I stand behind that investigation. It was obviously a phenomenal effort on the part of the personnel of the New York office. I was aware of their letter and in fact, in my individual capacity, was proud to sign it.'
+Bill Carter, a spokesman for the F.B.I. in Washington, declined comment except to say that Mr. Freeh 'will respond directly to Senator Grassley.'"
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+All bridge players must from time to time explain to their partners the rationale for an action that turned out disastrously. One of the most difficult, requiring a maximum level of groveling, concerns the penalty double of a contract that was due to fail but causes an opponent to retreat to a contract that succeeds. It is even worse when information given away by the double was crucial.
+East had to grovel after the diagramed deal at the Franklin Club in Franklin Square, N.Y., but he was unlucky. The declarer had to play superbly to survive.
+South was Mel Colchamiro of Merrick, N.Y., who had a successful spring campaign. He and his wife, Janet, won four tournament titles in  eight weeks; in Saratoga Springs, N.Y., Allendale, N.J., and two in Stamford, Conn.
+North-South had eight-card fits in both major suits. When they landed in four hearts, East doubled, relying on the defense promised by his partner's bidding. Four hearts would have failed, but South retreated to four spades and East doubled with diminished confidence.
+The lead of the diamond king was allowed to win, and West shifted to his trump in the hope of cutting down ruffs. Dummy's ten won the trick and the club queen was led. West took the ace and led the diamond queen, won by dummy's ace.
+West's bidding marked him with the heart ace, and East's double of four hearts marked him with four cards in the suit. So South made the remarkable play of leading a low heart from the dummy and playing low from his hand. As he hoped, the ace appeared, and the diamond ten was returned. East discarded a club, and South ruffed and cashed the spade ace. He then cashed club and heart kings and reached this ending:
+$(diagram$)
+A club was ruffed and the heart queen cashed. East's spade jack was trapped at the finish in a coup."
+False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,True,True,False,True,True,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,True,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,True,True,False,True,True,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,False,False,True,True,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,"The Neediest Cases; Back on a Career Path After Finding a Home Base
+Eight years ago, when Larry Kinbar appeared in an article about The New York Times Neediest Cases Fund, he had just moved into a housing facility for mentally ill men and women.
+Mr. Kinbar, who had been a stockbroker, had become severely depressed and had lost the will to work. Then, a doctor helped him even out his mood swings with medication, and Mr. Kinbar found an apartment in Metro House, where he could steady himself and look for a long-term job.
+The residence on the Upper West Side is run by the Metropolitan New York Coordinating Council on Jewish Poverty. The council is a beneficiary agency of UJA-Federation of New York, one of the seven local charities supported by The New York Times Neediest Cases Fund.
+For the first time in years, Mr. Kinbar was optimistic about the future.
+Now, three years after leaving  Metro House, Mr. Kinbar, 51, lives in a one-bedroom apartment in Titusville, Fla., that has a view of the space shuttle launching pad at the Kennedy Space Center. He is pursuing a master's degree in economics at the University of Central Florida in Orlando and is hoping to become a stockbroker again.
+He credits Metro House with getting him back on his feet. 'It was a platform from which I could put things back together,' he said recently. 'After seven years of floating from one place to another, it gave me a place to stabilize.'
+Mr. Kinbar had been a stockbroker in Georgia and Florida until his depression set in.
+'It hit me one day out of the clear blue sky -- I basically had not had depression before that,' he said. 'From that point forward, I just found it difficult to stay doing what I had been doing.'
+For seven years, he wandered the country, working short-term jobs as a gas station attendant, convenience store clerk and supermarket cashier, among others. 'I took whatever jobs I could,' he said. 'I was always one day away from ending up in the street.'
+By the end of those seven years, all his belongings fit into a duffel bag. 'I was fairly successful as a stockbroker,' Mr. Kinbar said, 'and to go from that to nothing made for an exceptionally difficult time.'
+Mr. Kinbar then moved in with a cousin in Rego Park, Queens.
+In New York, he sought a doctor's care and began taking lithium to control his manic-depressive mood swings. 'In one 24-hour period, it's like everything lifted off my shoulders,' he said. 'The difficulties which you incur with manic depression just disappeared.'
+He moved to the George Washington Hotel on Lexington Avenue in Manhattan and took meals at a nearby synagogue. But he was having trouble paying the rent. 'I was close to having nowhere to go,' he recalled.
+Then, a social worker running the lunch program at the synagogue told him about Metro House.
+Mr. Kinbar was one of the first people to move into the newly built center for people with mental illness in 1992 and lived there until 1998. He was provided with a room and meals, met once a week with a psychiatrist who made sure he was taking his anti-depressants and with social workers who made sure he received the proper government benefits.
+Mr. Kinbar, who had graduated in 1974 from the University of Georgia with a bachelor's degree in accounting, got in touch with an old friend from college who helped him move into an apartment of his own.
+He said he wanted to work as a broker again. 'With my degrees,' he said, 'I hope to get back into constructive employment.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these  organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK  Church Street Station, P.O. Box 4100, New York, N.Y. 10261-4100
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Donations may be made with a credit card online, courtesy of the Qpass digital commerce service, at www.nytimes.com/neediest. Online donors receive a free trial subscription to the crossword puzzle of The New York Times on the Web.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded: $7,556,326.54  Recorded Thursday: 44,479.00  Total: 7,600,805.54  Last year to date: 5,565,027.62"
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+Seven years after he first held a baton in his hand, DANIEL HARDING, 21, found himself conducting one of the world's best-known orchestras, the Berlin Philharmonic, on Wednesday .
+He made his unexpected debut with the Philharmonic when FRANZ WELSER-MOST announced on Monday that he had a throat infection and could not go on, The Daily Telegraph in London reported yesterday.
+Mr. Harding, who is English, has been in Berlin for a year as an assistant to Claudio Abbado, the orchestra's chief conductor. Mr. Abbado insisted that Mr. Harding take over the rehearsal and the concert, and he led the orchestra before an audience of more than 2,000 people.
+Mr. Harding, who grew up in Oxford and studied the trumpet at the Chetham School of Music in Manchester, was said by his London agent, Harold Holt, to be 'too overwhelmed and busy with rehearsals' to grant interviews.
+But his manager, Rachel Bowron, said, 'He loves conducting, and he's the sort who would grab the opportunity with both hands.'
+In a previous interview quoted in The Telegraph, he said his conducting ambitions were discouraged at school: 'They told me not to be so stupid.'
+CHRONICLE"
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+Last fall, a friend asked if she could jump out my 11th-floor window. She had esophageal cancer and was planning ahead. If the chemotherapy didn't shrink her tumor, and if surgery didn't offer her continued life, she wanted something 'swift and certain.' Pills wouldn't be an option if she couldn't swallow anymore. She didn't have a doctor to assist her dying, so injectible morphine would be harder to get. Five years ago, she was hit by a vehicle in Mexico. 'The impact didn't hurt,' she told me, and she figured that hitting the ground wouldn't either.
+We had been very close for decades and shared the major events of adult life: children's births, divorce, career crises. Nursing her husband through his protracted death from colon cancer had galvanized her. She did not want to hang on to life after the prognosis was hopeless and her pain became unrelenting. We had just sat down to a lunch I had made for us when she asked. She wanted to jump out my window because she lived in a brownstone. Her chemo-necessitated wig, picked up that morning at a shop in my neighborhood, sobered me. This was not one of our hypothetical suicide conversations -- this one was real. It took my breath away. I put down my fork and said, 'Let's take a look.'
+My bedrooms and living room look out on West 72nd Street. In the master bedroom, I threw up the sash. A sidewalk covering in place during some building restoration had just been removed. She was glad it was gone, she said. Nothing to break her fall. But nothing to protect pedestrians either.
+'You couldn't be in the apartment,' she ordered. 'The doorman would see you leave. I would have to be here alone.' She didn't want me suspected of criminal behavior.
+'We'll see what the chemo does,' I said. 'And then we'll talk more.' I was devastated that a woman I loved was threatened with imminent death. I wanted to be a good friend, but asking me to help her commit suicide changed everything.
+After she left, I had second thoughts about my swift acquiescence. This was hardly a casual request. Could I sleep in my room after my friend plunged to her death from my window? Could I enter and leave passing the place where her crumpled body had lain? Which of my neighbors, which of the toddlers in strollers and kids on scooters, would see her fall?
+On the phone a few days later, when I told her that I was waffling, she said just the offer was comforting. She felt calmer. We talked about other tall buildings with windows that open, as well as other options. Neither of us had experience with pills, injectible drugs or morphine suppositories. Nor did we know how much help she might need with any of them.
+A few months passed and her life shrank. She moved south to live with her daughter's family. She slept much of the time, was racked with coughing and in more and more pain. My friend felt that as long as her pleasure in life was greater than her pain, she would choose to live. But she didn't want to wait until she didn't have the strength to take her own life. In February, I traveled to see her for what I knew would be the last time. 'I've found a hotel with balconies,' she told me during my visit. 'Will you drive me there?' And I agreed. Since her family would inherit her estate, she didn't want them accused of hastening her death.
+On the day we chose, her bag was packed and she was ready to go. As I drove onto the block, her daughter and family were saying goodbye. After they pulled away, we walked to the car. I opened the door for her. We put our seatbelts on. When we pulled up at the hotel, with the car in park, we hugged. Exchanged 'I love you''s. 'If you change your mind, just call,' I reminded her. We wept, and she waved goodbye as I turned and left. The ordinary act of dropping off a friend at a hotel was made extraordinary by her intention. I was the last person who loved her to see her alive.
+When her friends heard how she had taken her own life, reaction was mixed. Shock at her method. Admiration of her courage. How could she do that? they asked angrily. What a legacy for her family. Thoughtless. Why didn't she cut her wrists in a warm bath? Why didn't somebody duct-tape her to her bed and find a better way? I kept quiet.
+For my own part, I have asked myself why I did what I did. I didn't want to let her down. Although I gave her permission to take her own life, I feel guilty that I did not find an easier way for her to die. At the same time, I'm angry that she didn't use a gentler method, one with a more peaceful end. Something easier for her. Something much easier for me.
+So far, no punishments. No rewards. But I am haunted. I'm not at peace. Will I ever be? I know my friend is where she wanted to be, on her own terms. She had the right to take her own life, and her loved ones were right to help her, but there should have been a better way. I am left with the legacy of my friend's desperation and the prospect of my own.
+LIVES Carrie Carmichael is a writer and performer living in New York."
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+Larry Hogue, a symbol of New York State's inability to treat mentally ill drug addicts effectively, has failed to report to a psychiatric outpatient program, alarming some Upper West Side residents who are fearful that he will return to terrorize them.
+Mr. Hogue, once prone to wild and threatening outbursts, has not contacted case managers at the Creedmoor Psychiatric Center in Queens for about a month, officials said yesterday.
+The State Office of Mental Health, which provides services for people with serious and persistent psychiatric disabilities, said that given Mr. Hogue's history, case managers had been looking for him through his family and friends to determine what services he may need.
+Deputy Inspector Michael E. Collins, a spokesman for the Police Department, said yesterday that detectives were in touch with state officials and that beat officers would give special attention to areas Mr. Hogue was known to frequent, including the Upper West Side. His disappearance was first reported yesterday in Newsday.
+'We're ready to assist the state authorities in locating Mr. Hogue,' Inspector Collins said. 'I'm not saying we're going to arrest him. There are no warrants out for his arrest.'
+But all of the effort is of little solace to residents along West 96th Street, Mr. Hogue's favorite haunt.
+For more than a decade, residents of the Upper West Side say, Mr. Hogue terrorized their streets, vandalizing cars and threatening elderly people and children as they passed by, saying he would set them on fire and roast their dogs. They say he was known to hover in the shadows wielding ice picks and knives.
+'If he's alive, he's going to make a reappearance,' said Aaron Biller, co-chairman of the West 90's/West 100's Neighborhood Coalition, which spearheaded the effort to have Mr. Hogue committed to Creedmoor in 1992. 'We are alerting everybody on the community level to look out for him. We want him taken off the streets.'
+Mr. Hogue started the outpatient program in 1995, after being released from Creedmoor, where he underwent court-ordered drug and psychiatric treatment. He spent several months in a residential program that treats alcohol and drug abuse, which offered structure, but less security than a psychiatric hospital.
+Since his release, Mr. Hogue has been enrolled in an intensive case-management program, which involves maintaining frequent contact with a social worker and a weekly face-to-face visit, an official said. Citing confidentiality rules, officials would not release information about his medical condition and the specific terms of his release.
+Mr. Hogue, who walked away from Creedmoor in 1994 to get money for his pregnant fiancee in Bridgeport, Conn., while the state was on the verge of releasing him, prompted sharp debate about how to handle mental patients with histories of drug abuse and erratic behavior: Should they be institutionalized indefinitely or allowed to live in supervised homes with more freedom once their behavior is stabilized?
+The debate continues. 'He has the same rights as any other citizen,' said Roger Klingman, spokesman for the State Office of Mental Health. 'Legally, all we can do is outreach, which is what we're doing now. It's not like parole.'
+Lisa Lehr, a West Side community activist who was instrumental in getting Mr. Hogue institutionalized, said yesterday that the system has to somehow be revamped in order to protect residents from people who do not necessarily need to be incarcerated, but need to be forced to receive help.
+'It's the system,' Mrs. Lehr said. 'We shouldn't have to revisit this tragedy every three years. He's a victim, too. He hallucinates and sleeps in traffic like he's on the beach or a rooftop. This is a very sensitive community. This is the Upper West Side, but we're not suicidal.'"
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+Gov. George E. Pataki accused the Long Island Lighting Company's directors today of 'robbing their shareholders' of $67 million by paying 'secret' bonuses to executives, including $42 million to the chairman, Dr. William J. Catacosinos.
+Using very harsh language, the Governor castigated the payments as 'disgraceful' and 'outrageous.' He demanded that the money be returned and that Lilco's directors and executives resign from their successor company, Marketspan. He also called for investigations by the State Attorney General and the Public Service Commission, and both agencies said they were starting to comply.
+But a Marketspan spokesman denied any wrongdoing. 'I think there's a misunderstanding regarding these funds,' said the company's senior vice president for public affairs, Joseph McDonnell, who was one of the recipients of a payment. 'Various figures have been lumped together, and then it gets inflammatory.'
+Mr. McDonnell said that three-quarters of the benefits paid to Lilco executives were retirement benefits paid out early and that the remainder had been approved by Lilco's board of directors in 1994 to help insure that employees would stay on if the agency were to have a change of ownership. He noted that the payments had been reported in Lilco's annual statements. In the most recent Securities and Exchange Commission filing for Lilco for the year ending March 31, the existence of the benefits policies are cited, but not with total dollar amounts to be paid after Lilco's merger.
+Mr. Pataki's charges were made in a news release issued in Albany as the New York State Republican Convention was winding down.
+The disclosure about the payments comes at an awkward moment for the Governor, who had just succeeded in reducing Long Island's electricity bills, which under Lilco were the highest in the continental United States. Just a week ago, the state's Long Island Power Authority carried out his $7 billion plan to buy most of Lilco's electricity service and use tax-free bonds to enable a 20 percent cut in customer rates.
+The Governor stressed that the dispute over the payments would not affect the power authority's takeover, its bonds or the lowered billing rates, which took effect May 29.
+But the dispute makes for a bumpy beginning in the power authority's relationship with Marketspan, which holds long-term contracts to provide the electricity and operate the old Lilco system for the authority. Marketspan was formed by the merger of Lilco's other divisions -- including its management, power plants and gas system -- with the Brooklyn Union Gas holding company.
+And the disputed payments are causing internal friction in the new Lilco-Brooklyn partnership because Brooklyn Union executives did not get any special payments like the ones for Lilco's executives and did not even know about them until recently.
+Mr. Pataki showed real flashes of anger in his accusations. 'Not content with ripping off its own ratepayers for decades,' he said, 'now Lilco's board and management are robbing their shareholders in one last extraordinary secret act of greed. These disgraceful secret payments confirm yet again why I was absolutely committed to getting rid of Lilco for all time. It is a sorry finish for a company with a history of disturbing and ill-advised decisions that benefited a select few at the expense of its consumers.'
+Mr. Pataki continued, 'I encourage the shareholders to demand that Mr. Catacosinos resign immediately as chairman of the new company, along with those members of Lilco's board and management who are now at the new merged company.'
+Joining the attack was the Governor's appointee as chairman of the power authority, Richard M. Kessel. 'The decision to trigger payments,' Mr. Kessel said, 'was omitted from disclosure documents provided to Lipa prior to the closing, and Lipa believes Lilco took purposeful steps to keep Lipa from discovering this information prior to the closing.'
+The power authority's initial review showed that the payments came from stockholder funds, not from rates paid by electricity customers, Mr. Kessel said. In addition to the $42 million for Dr. Catacosinos, who was paid $673,333 a year in salary, a total of $25 million was paid to 25 other Lilco executives, he said.
+The payments resulted from programs 'designed to protect these executives from loss of employment as a result of a merger transaction,' Mr. Kessel said, but were paid 'despite the fact that there was no loss of employment.'
+No bonuses were paid to Lilco's 5,000 other employees or to Brooklyn Union Gas's executives and 3,000 employees.
+Mr. McDonnell declined to comment on whether Brooklyn Union executives knew in advance about the benefits paid to their new partners or whether they were upset by it. He also said that Dr. Catacosinos, now chairman of Marketspan, would not be available to comment.
+Robert B. Catell, the former Brooklyn Union chairman and now president of Marketspan, said in a brief interview tonight, 'This now really becomes a board matter and has to be addressed by the new board, so it's not appropriate for me to make any comments.'
+Opponents of the takeover, who have long criticized the entire deal as a giveaway to Lilco, said the latest disclosures simply reinforce their view.
+'The Albany politicians gave Catacosinos a blank check, and he filled it out,' said Wayne Prospect, a coordinator for the opposition. While the bonuses are 'beneath contempt,' he said, they pale next to the billions of dollars the deal gave to Lilco, including relieving it of the $4.5 billion of remaining debt for the abandoned nuclear power plant at Shoreham.
+But Mr. McDonnell defended the payments. Three-fourths of the money was for the current value of the Lilco executives' retirement entitlements, and they were simply paid now because of Lilco's demise, he said. He acknowledged that other Lilco employees did not receive such bonuses, however, and their benefit programs are being assumed by Marketspan.
+Dr. Catacosinos has often been a lightning rod for public resentment of Lilco. Questioned at a legislative hearing last year, he spoke only narrowly about his base pay and did not volunteer information about the benefits.
+Last week, at a ceremonial signing of takeover and merger documents, a reporter asked Dr. Catacosinos how much his pay would be going up as a result. 'It's the same,' he said."
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+The hardest word on 7-year-old Drew Beck's spelling test on Friday was 'believe.'
+As in, I believe that the Knicks can go all the way. Or, I believe in Coach Jeff Van Gundy even when management seems not to. And, as it says on the orange and blue handout towels, on the Jumbotron at Madison Square Garden and in the minds of fans, I still believe, even with Patrick Ewing's Achilles' tendon and Larry Johnson's sprained knee, I believe, I believe, I believe.
+Drew's dad did not tell him until after school on Friday that they would be going to the Garden that night. He wanted the second grader to concentrate on spelling. And young Drew, beaming before the game in his No. 2 L. J. jersey and baggy Knicks shorts, got it right: b-e-l-i-e-v-e.
+During the regular season, 'a few times he shut off the TV and went to bed,' said Drew's father, Tom Beck, a landscaper from Lewisboro, N.Y., who got the last-minute seats through a client. But, the boy pointed out, he turned the television off only because it was a school night.
+'Drew,' Mr. Beck said, 'never gave up.'
+It is, in a word, unbelievable. What are we doing here?
+Nobody really knows. And nobody really cares.
+Sure, they miss Charles Oakley and John Starks, but try to find someone who will say out loud now that trading them was a bad idea. Had they really been anti-Sprewell? Now it's all about second chances.
+And Jeff Van Gundy? It sounded as if  every person in New York was chanting his name, making a singsong of each syllable as the seconds ticked down early yesterday on the basketball game deciding the Eastern Conference winner. The T-shirts emblazoned 'Champions' began to appear, and they went to the Knicks, not the Indiana Pacers.
+'This is a season of destiny,' said Mickey Rosenzweig of Old Westbury, N.Y., a season-ticket holder who was sitting with his wife, their daughter and her boyfriend, who is from Detroit but all of a sudden loves the Knicks.
+'The Knicks this season are the epitome of New York City,' Mr. Rosenzweig said. 'New York is a place of people who are always fighting to survive and excel. This team did the greatest American dream.'
+There is no joy as sweet as the unexpected.
+Presents at Christmastime pale next to a surprise gift in February. Flowers on Mother's Day cannot compare to a bouquet given just because. And the excitement of following a predicted champion from preseason practice to playoff lacks the wild wonderment of watching an underdog beat the odds.
+Marc Reiner, a 29-year-old lawyer in his first year as a season-ticket holder (right behind the basket, but hoping to move), explained it to his sports buddies in one of dozens of Knicks-related E-mail exchanges in recent weeks.
+Citing Allan Houston's shot bouncing twice before going in to beat the Miami Heat and Larry Johnson's four-point play to beat Indiana earlier in their series, Mr. Reiner wrote, 'When things somehow go right, my reaction is not elation (and certainly not any I-told-you-so satisfaction) but that I'm stunned.'
+Early yesterday morning, as he headed home to the Upper West Side on the No. 1 subway crowded with his crowing comrades, his smile seemed as much from shock as success.
+'I remember I laughed so hard when they billed me for three rounds of playoff tickets,' Mr. Reiner said. 'I can't be happy. I'm so stunned.'
+There is something remarkably  New York about this whole story, a make-it-anywhere quality to the young, scrappy team whose fans include Spike Lee and Donald Trump.
+At the legendary hoops playground on West Fourth Street in Greenwich Village, players and coaches were wearing their hair in cornrows the way Latrell Sprewell does long before he came East in the John Starks trade. Marcus Camby is like all those kids from somewhere else who try to make it on Broadway, only in sneakers. The nebbishy Van Gundy, who toiled so long as an assistant coach behind the flamboyant Pat Riley and is now looking for the National Basketball Association championship his boss never got with the Knicks, is the basketball version of the computer geeks-turned-millionaires sprouting on every corner of Silicon Alley.
+Basketball is New York's game. The Yankees are the city's legend, the Knicks its heart.
+Look at Butter, a Knicks fan 'since the crib' who does not want the other players at West Fourth to know his real name. Butter loads trucks for Federal Express on the overnight shift and spends his days bouncing ball on pavement. His arm has a blue and orange basketball tattoo, his Bulova watch a Knicks logo. Butter's pet Akita is named Starks. His firstborn, he vows, will be named Knick.
+'I'm always a fan, but I expected to be rooting for someone else in the playoffs,' admitted Butter, who turned 29 in May. 'For my birthday, I just wished they'd win the championship. That would be the best present. So I can walk down Broadway in the ticker tape parade.'
+It has been only five years since the Knicks last made the finals, but fans are saying that it feels different this time, somehow even better than the championships in '70 and '73. The lockout, the death of Red Holzman, the shortened season, the management scuffles, the 21-21 record in March, the injuries, the bottom ranking heading into the playoffs. (The second-hardest word on Drew Beck's spelling test, he said, was 'except,' as in: No eighth seed has ever made the N.B.A. finals, except the 1999 New York Knicks.)
+It's a Cinderella story, the latest phase of the New York renaissance. Crime down, tourism up, Knicks sizzling.
+'They found a new way to win, and that's the New York story,' said Mitchell Moss, who directs the Taub Urban Research Center at New York University. 'They couldn't win with their starters, so they win with their bench. It's the New York resiliency.'
+People are still pinching themselves.
+Diana Parker, 55, and the other lawyers at her firm were having a tough time giving their season tickets away early this spring. They joked that if people went to the game, the firm would buy them dinner.
+So when her 11-year-old cousin, Dylan Watson, asked in April whether she would take him to a playoff game, Ms. Parker believed that she had no choice but to let him down easy. 'I said, 'Honey, I would take you, but the Knicks aren't going to get into the playoffs,' ' Ms. Parker, who lives on the Upper East Side, recalled telling the boy. 'He said, 'Yes they are, of course they are.' And now they are.'
+'I have faith,' Dylan said with a shrug. 'I just kinda knew.'
+He was born in New York, now lives in Louisiana, and flew up for Friday night's game in time to watch warm-ups. Now he can tell the boys back in Baton Rouge all about how Latrell Sprewell touched him on the way down to the court.
+Dylan was wearing Ewing's No. 33 tank top over a playoff T-shirt as he spoke, his eyes sparkling between three orange and blue 'NYK' face decals.
+And he was carrying one of those orange towels everyone was waving around, the ones that say, 'I believe.'"
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+The advertisements began popping up on television and radio two months ago: Weitz & Luxenberg, a Manhattan law firm, was telling people who said they had been made ill by the diet pill combination fen-phen that their chances of being fairly compensated might be in jeopardy.
+A $3.75 billion settlement in a class action lawsuit could be approved by a federal court soon, and the advertisements warned that most people harmed by the once-popular prescription would be barred from bringing individual suits unless they 'opt out' of the class action suit by Thursday. And, of course, the announcer urged those affected to call Weitz & Luxenberg to 'investigate your legal options.'
+The firm says it has received more than 200 responses to its advertisements and has taken on 25 of the cases. Along with another firm's Web site, which is critical of the proposed class action settlement and  has offered to provide forms for those wanting to withdraw from the  suit, the Weitz & Luxenberg advertisements make clear that the litigation over fen-phen will continue even if the settlement is approved.
+Both the advertisements and the Web site, maintained by the New York firm of Napoli, Kaiser & Bern, highlight a paradox of the legal profession: class action agreements can  fuel the litigation fires they are intended to douse.
+'It tells you about the culture of the legal profession and about the money at stake,' said Stephen Gillers, the vice dean of New York University School of Law and a specialist in legal ethics. He said the Weitz & Luxenberg advertisements did not breach legal ethics.
+'When we see plaintiff lawyers versus defense lawyers, that's only Act 1,' he said of widespread personal injury litigation over a product or material. 'Act 2 becomes plaintiff lawyers versus plaintiff lawyers.'
+Lester Brickman, a specialist in legal ethics at the Benjamin N. Cardozo School of Law at Yeshiva University, said that with class action suits in general, plaintiff lawyers skirmishing to either maximize or reduce the class size will say 'they're acting in the public interest.' They will 'not get up and say, 'Folks, we're doing this because we see a chance to make some money,' ' Mr. Brickman said. The proposed fen-phen settlement includes up to $429 million in fees for the lawyers.
+But Roy D. Simon, a law professor at Hofstra University, said, 'If it's accurate, I think this type of advertisement is actually helpful to people.' He said that usually in class litigation, 'if people have large individual claims, they may be better off in an individual action than a class action.' An advertisement like this, he said, affords 'another perspective.'
+The proposed settlement, intended to cover thousands of people across the country who have suffered heart valve damage after taking two of the diet pills in the fen-phen combination, was reached in October with the American Home Products Corporation of Madison, N.J., and is subject to approval by the presiding judge, Louis C. Bechtle, of Federal District Court in Philadelphia. The accord does not cover several hundred people who say the drugs gave them primary pulmonary hypertension, an often fatal lung disorder.
+The company's pharmaceutical division, Wyeth-Ayerst Laboratories, made Pondimin -- its brand name for fenfluramine, an appetite depressant that is the 'fen' in the case -- and distributed a similar drug, Redux. Some six million people took one or the other, often in combination with phentermine -- the 'phen' in the formula -- which increases the rate at which calories are burned.
+Robert Gordon, a partner in Weitz & Luxenberg, which is not involved in the class litigation, termed his firm's advertisements 'a public service to alert people to deadlines they might not know about and to let them know they may do better' with an individual suit.
+Stanley M. Chesley, a lawyer from Cincinnati who helped negotiate the settlement, gave a different view. 'It's just another law firm trying to get business at this late date,' he said, calling the proposed accord 'an excellent settlement.'
+American Home Products pulled Pondimin and Redux off the market in late 1997 after studies linked them to heart valve damage.
+About 7,000 individual lawsuits have been filed by former users claiming such valve damage. The class settlement would give those with serious damage -- and who did not opt out of the class action -- payments of $7,400 to nearly $1.5 million, depending on factors like age and the degree of damage. There are provisions for withdrawing from the class suit after Thursday under certain circumstances.
+If too many withdraw to pursue individual suits, American Home Products can scrap the accord, and with it the pot of legal fees. A spokesman for the company, Doug Petkus, said it had not determined how many 'opt outs' would be too many.
+Mr. Gordon said Weitz & Luxenberg had 'turned down far more than we accepted' of those who responded to its advertisements, which stopped running two weeks ago, and had told many callers to stick with the class settlement plan 'if they don't have a significant claim.' He added, 'I'm not saying the plan is bad, only that it's not right for every case.'"
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+As the rain keeps falling and the water keeps rising, it is becoming clear that the terrible flooding of 1993 will have a considerably bigger effect on the nation's economy than seemed likely just a short time ago.
+""Seems like we get bombarded with heavy rain and heavy rain; in between, we get light rain,"" said Roy R. Arends, a farmer in Alexander, Iowa. ""It's been hard to get the crops in, it's hard on equipment, it's hard on nerves. The financial impact is yet to be seen, but right now it really looks bleak.""
+As they survey bankers, farmers, businesses and state officials, analysts at four Federal Reserve banks in the Midwest have been raising their damage estimates, in some cases doubling and tripling recent numbers. 'Hurricane Andrew Range'
+""Two weeks ago I said you weren't going to see discernible impacts"" on the gross domestic product, said Edward Lotterman, an economist at the Federal Reserve Bank of Minneapolis.  ""That was before Iowa, Missouri and Illinois. Now I think we're getting into the Hurricane Andrew range in terms of losses.""
+The dollar figure that economists are putting on crop losses, property damage and lost production and sales -- for now at least -- is $10 billion to $12 billion, roughly two-thirds of the losses from Hurricane Andrew last year. As the figures climb, they include losses not only from areas under water, but also from adjacent areas where people and businesses are suffering.
+Heavy rain fell yesterday along the Missouri River in Nebraska, expanding the flooded area north and west and raising the specter of more trouble ahead.  [ Article, page 16. ] A Parched Southeast
+And while the Midwest is reeling from the flood, parts of the southeastern United States -- without a major rainfall since June 1 -- are feeling the bite of a drought. In South Carolina, the worst-hit state, the state Agriculture Commissioner said 95 percent of the corn crop had been lost, 70 percent of soybeans, 50 percent of wheat and 25 percent of tobacco. Parts of North Carolina and Georgia are also suffering.
+""There's going to be crop loss and poultry suffocation,"" said Donald Ratajczak, director of the economic forecasting center at Georgia State University. The damage is likely to be measured in hundreds of millions of dollars.
+Eventually, consumers around the nation are likely to see higher prices for some foods as a result of the current damage, but the changes are likely to be moderate, far less than the sharp increases produced by the devastating drought of 1988.
+Laura d'Andrea Tyson, head of the President's Council of Economic Advisers, said Friday that she thought the flooding and drought would add no more than three-tenths of 1 percent to the inflation rate this year. She said she expected ""a serious effect on spending"" this summer and suggested that a lack of resources for rebuilding could limit the economic stimulus after the flood waters recede.
+For all the tremendous losses to property and people's well-being, most natural disasters eventually provide a shot in the arm for the national economy, because the tremendous sums of money invested in repairs show up in gross domestic product.
+""A guy whose home was wiped away and a community whose major road was destroyed doesn't show up as G.D.P. loss,"" said one Administration economist who would speak only on anonymity. ""In fact, that diminution of assets shows up as a G.D.P. gain, because we'll send a road crew out to repair the road. But that gain is a measure of what was lost."" Stalled Midwest Growth
+Economists expect the negative impact of the Midwest floods to be measured in tenths of 1 percent of the nation's $6 trillion gross domestic output -- the amount of goods and services Americans turn out a year. But the blow is still enough, said Sara Johnson, an economist at DRI/McGraw-Hill, to temporarily stall the economic expansion of the Midwest, a region that has been doing better than the rest of the nation for several years.
+And statistics about the nation's economy are scant comfort to people watching their homes being swept away, or to those on dry land who have also suffered.
+Dwayne Crook is the sales manager at Buford Ward Chevrolet in Quincy, Ill., a dealership that sits on a bluff hundreds of feet above the swollen Mississippi River. ""A lot of our business comes from Missouri,"" he said. ""They just can't get here. The bridges are down. There's water over the roads."" The dealership's sales, which were very strong earlier in the year, have been down 30 percent since the flooding started.
+Such disruption of everyday economic life is continuing throughout the flood area, where water now covers millions of acres in eight states.
+""This thing has been going on and on and on,"" said Wesley Ooms, an assistant vice president at State Farm Insurance, in Bloomington, Ill. ""You really can't do anything until water's receded.""
+Crop losses from the flood could reach $5 billion. Iowa's farmers, for example, may end up losing a third of their corn crop, taking a $1.1 billion loss, said Evan Stadlman, executive director of the Iowa Corn Growers Association.
+""There's the crop that should have been harvested in the fall that never got planted,"" he said. ""There's the crop that was lost due to flooding. We're also talking about the crop continuing to be reduced if don't get more favorable weather. Plus we may see the crop that can get harvested can't get to market.""  Impact on Business
+The rains and flooding have kept buyers out of stores, and some factories have been shut. The loss of business in Des Moines, where flooding of the waterworks disrupted the city's water supply, has been estimated at $200 million by the Des Moines Chamber of Commerce and at $500 million by the Federal Reserve Bank of Chicago.
+The flooding has halted home building in some areas, and the rain has delayed it in others. Housing starts in the Midwest, which had already dipped in June, are likely to remain at below-normal levels all summer.
+""The water has to go down,"" said Betty Hardle, chief executive of Good Value Homes in the Minneapolis-St. Paul area. ""The ground has to dry somewhat. The approach to the property has to be suitable for heavy trucks. The constant rains added time, cost and aggravation.""
+While rebuilding after the flood will provide some economic stimulus later this year, it is likely to fall short of what occurred after Hurricane Andrew in South Florida and Louisiana. While the hurricane demolished homes and businesses which were often rebuilt, the biggest damages from the flooding have been to crops. And lost crops are simply never made up.
+There is another major difference: even with aid from Washington, the proportion of losses that will be compensated from the flood and drought will be much lower than from Hurricane Andrew.  A Lack of Insurance
+After the hurricane, insurers paid more than $16.5 billion in claims within a few months. Among the many homes flooded in the Midwest, relatively few are insured against flood damage. State Farm, for example, said it had received fewer than 400 claims for flooded homes and fewer than 400 for autos damaged by the water.
+Few private homeowner policies provide flood protection, and Donald Collins, assistant administrator of the Federal Emergency Management Agency, said only about 15 percent of the 30,000 to 40,000 homes damaged by flooding have Federal flood insurance. ""Not enough people bought the insurance,"" he said. ""That's just tragic.""
+And many farmers do not buy Federal crop insurance which, as a rule, does not pay for the first third of the loss. ""People with damaged homes or crops aren't going to have an Allstate man drive up to door and write a check,"" said Mr. Lotterman of the Federal Reserve Bank in Minneapolis. ""So you don't get an immediate infusion of cash that you got after Andrew.""
+For now, all the numbers attached to flood damage are rough estimates at best. The numbers cannot be confirmed or contradicted until people can inspect all the damage and the fall harvest is completed.
+THE MIDWEST FLOODING"
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+A recent graduate of Columbia University Law School was charged yesterday with smuggling cocaine into the United States last year in a scheme that failed despite what drug agents said was his legal research in an effort to avoid detection.
+The enterprise failed, the agents said, when an associate who carried the cocaine into the country from Jamaica in about 100 swallowed condoms became ill after some of the contents leaked into the associate's stomach.
+The man arrested yesterday, Zolton Williams, 28, of Brooklyn, who received his law degree from Columbia two months ago, was accused in Federal District Court in Brooklyn of importing more than two pounds of cocaine into the United States in June 1997, between law school terms.
+Mr. Williams and the second person, who was not identified, flew from Jamaica to New York, where the associate was to get $10,000 once the cocaine was sold, according to an agent of the Federal Drug Enforcement Administration. But the confederate became ill and started hallucinating, apparently from the leaking cocaine, the agent, J. Michael Smith, said in a court affidavit.
+He said the associate was taken to a hospital and, after the condoms were surgically removed, was arrested, later pleading guilty to Federal narcotics charges in a deal that involved cooperating with the Government.
+Mr. Smith said that before going to Jamaica, the associate had asked Mr. Williams how likely it was that they would be caught upon returning to Kennedy International Airport, and that Mr. Williams, then in the midst of his law school studies, 'suggested that they go to a law library and do research about 'profiles' used by Customs to stop and search airline passengers.'
+Mr. Williams, who was an intern for several months in the Brooklyn District Attorney's office, was not required to enter a plea when he was arraigned yesterday on drug importing and conspiracy charges by Magistrate Judge Steven M. Gold, who  ordered him jailed pending further court action. His lawyer, Douglas Morris of the Legal Aid Society, later declined to comment on the charges. If convicted, Mr. Williams would face up to eight years in prison, said Timothy A. Macht, an assistant United States attorney in Brooklyn."
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+A year and a half after a fledgling musical called 'Rent' opened off Broadway, a woman who was paid more than $10,000 for collaborating on it took the stand in Federal court yesterday to claim a share of the millions of dollars in profits of what is now a runaway Broadway hit.
+The copyright action, being closely watched in the theater world, was brought by Lynn M. Thomson, who was hired in the ill-defined role of dramaturge but who, by her account, wound up collaborating closely with Jonathan Larson on the play's book and lyrics. Mr. Larson died suddenly of an aortic aneurysm at age 35 on Jan. 25, 1996, just days before the show, based loosely on Puccini's 'Boheme,' opened off-Broadway.
+Beyond shedding light on the dramaturge's role of compiling material for a production, the case has raised thorny questions about collaboration and copyright, particularly since Mr. Larson and Ms. Thomson -- hardly expecting to create a blockbuster -- signed contracts with the New York Theater Workshop that did not spell out many of the issues that Ms. Thomson has raised. Both received $2,000, but he was identified as the author and she as the dramaturge.
+Ms. Thomson has received other payments totaling more than $10,000 but far less than she wants.
+If it continues playing to sell-out houses, the New York production alone would take in $26 million a year, not counting road companies, album sales and potential film royalties. Ms. Thomson filed suit in November against Mr. Larson's father and executor, Allan S. Larson, seeking 16 percent of the author's revenues, based on a claim of having written nearly half of the final version with Mr. Larson as well as up to 9 percent of the lyrics.
+A victory in the suit could be worth as much as a quarter of a million dollars a year, by some estimates.
+Under questioning from one of the Larsons' lawyers, Peter Parcher, Ms. Thomson acknowledged she had no documentation from Jonathan Larson quantifying her contribution. 'In exact words, he never said, 'You are co-author,' and I never asked him, 'Am I the co-author?' but we knew what we were doing,' she testified.
+Mr. Parcher asked Ms. Thomson, 'You never had a discussion with Jonathan Larson that discussed compensation, isn't that true?'
+'Money is so not a part of what this is about,' she replied, citing the nonprofit theater workshop that gave rise to the production. 'In terms of storytelling, character development, Jon needed my help.'
+A key issue, said Judge Lewis A. Kaplan, who at times took over the questioning to speed the case along, was whether -- even if Ms. Thomson suggested an idea -- Mr. Larson used his own skill to incorporate it into the show, or whether her exact words were used. Only exact forms of expression can be copyrighted.
+Much of the testimony has been given by witness statements from both sides, and Ms. Thomson's lawyers have submitted statements from people involved with 'Rent' claiming, in one instance, that Mr. Larson had given her credit for changing a song, 'Right Brain,' into 'One Song Glory,' one of the most spirited of the show. Others, however, testified that despite many opportunities, Mr. Larson did not credit her as a co-author.
+A witness who testified yesterday for Ms. Thomson, the playwright Tony Kushner, said he had voluntarily paid two collaborators on 'Angels in America' a total of 15 percent of his author's royalties in recognition of their crucial contributions. Outside the courtroom, he said Ms. Thomson deserved no less. 'There's no question if Jonathan had been alive there would be no problem,' he said."
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+Accounting: Now It Can Be Told
+Before the Enron bankrupcty, would any publishing houses have given serious thought to a proposal for a tell-all book about an accounting firm? Would anyone have offered an advance in the mid-six figures?
+But now CHARLES CONRAD, vice president and executive editor of Broadway Books, has signed for a book about Arthur Andersen, Enron's longtime auditor. The book, 'Our People: How Arthur Andersen Won Big Business and Lost Its Way,' is being written by BARBARA LEY TOFFLER, a former partner-in-charge of Arthur Andersen's ethics and responsible business practices consulting service.
+'She eventually didn't see eye to eye with her employers there' and resigned in 1999, a Broadway spokesman said. JENNIFER REINGOLD, a former staff writer at Business Week magazine, is working with her.
+Taking the Fast A Train
+The actress BO DEREK is hardly a regular of the Bosnywash corridor -- she has lived in Santa Ynez, Calif., for 22 years. But yesterday, Amtrak gave her a ticket on its Acela Express high-speed train so she could promote her autobiography (and Amtrak could promote the train).
+So, improbable as it sounds, she pulled a suitcase-on-wheels as she boarded the train to Washington at Pennsylvania Station yesterday. She said that as a new board member of the John F. Kennedy Center for the Performing Arts in Washington, 'I'll probably be taking advantage of this.' Her first board meeting was last month. Did she say anything?  'Heavens, no,' she said. 'I think that would be a bit presumptuous. It's a six-year appointment. I've got plenty of time.'
+Soon she was retelling a story from her book, about how JANE FONDA called to see if she was interested in dating TED TURNER. This was while he and Ms. Fonda were separated but still married. Ms. Derek said he never called. And if he had? 'I would have had a good laugh,' Ms. Derek said. 'I don't know how it would have played out.'
+And then, all aboard. Amtrak says the train arrived six minutes late.
+Next-Best Thing to Austin
+BETTY BUCKLEY, above, wanted to go home again, sort of -- 'I needed to get back to my origins as a singer,' she said -- so she called a high-school friend from Texas, STEPHEN BRUTON. A guitarist who has played with BONNIE RAITT and KRIS KRISTOFFERSON, he suggested meeting in Austin, Tex. Not on my schedule, she said -- and this was before her rehearsals for A. R. GURNEY'S new play 'Buffalo Gals.' Mr. Bruton came to New York. They worked on jazz harmonies in preparation for a two-night appearance at the Bottom Line, tonight and Saturday.
+'It's a mixture of southwestern country rock because we're both from Texas,' she said. 'It's more precisely who I am than the musical theater thing.'
+Party Till You Lose
+Next week, he reports for spring training. But this is Fashion Week, and MO VAUGHN has been taking a seat in the front row with the ANNA WINTOURS and the ELSA KLENSCHES -- a benefit of playing for a New York team that he said he had been looking forward to since he was traded to the Mets in December. But at the opening of the W Hotel in Times Square on Tuesday, TIKI BARBER of the Giants, a regular on the party circuit, had some advice: 'Select your parties. Don't do too much.' Mr. Barber also said that results mattered. 'You won't be treated quite as well' if the team is losing, he said.
+It was 10 p.m. Mr. Barber said goodnight. Mr. Vaughn was just settling into a booth.
+Tales of Hoffman
+A couple of college kids decided to take their father out on Tuesday. This is how BECKY and JAKE HOFFMAN ended up in the Oak Room of the Algonquin Hotel on West 44th Street with DUSTIN HOFFMAN.
+Ms. Hoffman, a freshman at Barnard, and her brother, an undergraduate at New York University, liked the performance by the cabaret wunderkind PETER CINCOTTI. And Dustin Hoffman? 'I sat there the whole time, envious,' he said. 'That's all I wanted to be, a jazz singer, when I was growing up. I started piano when I was 5 with this teacher, Eli Miller. He was German and I always remember him saying, 'Mit the foot! Keep better rhythm mit the foot!' I took lessons for 22 years before I decided to try acting instead.'
+Boldface Names"
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+A Missouri telephone executive charged with helping members of the Gambino crime family organize one of the largest fraud schemes in United States history has agreed to a plea deal, federal prosecutors said yesterday.
+The executive, Kenneth Matzdorff, 47, of Belton, Mo., pleaded guilty Friday in federal court in Brooklyn to one count of conspiracy to commit wire fraud and one count of conspiracy to launder the proceeds, said a prosecutor in the case, Assistant United States Attorney Eric Komitee. Each count carries a maximum sentence of five years, Mr. Komitee said.
+Mr. Matzdorff's plea is likely to bolster the case against several men scheduled to go on trial next month in Brooklyn on racketeering and money laundering charges, because under such deals, prosecutors offer defendants reduced charges in exchange for their cooperation.
+Mr. Komitee declined to say whether Mr. Matzdorff would testify at the trial.
+Prosecutors say several Gambino crime family members and associates -- including Salvatore Locascio, 44, whose father, Frank Locascio, was a counselor to the late Gambino family boss John J. Gotti -- orchestrated a scheme to defraud millions of consumers by placing unauthorized charges on their telephone bills and credit cards.
+The case has attracted attention because it highlights how mobsters long associated with bookmaking, loan-sharking and other traditional underworld operations have begun embracing technological advances and pursuing far more sophisticated schemes in the Internet age.
+The authorities say one defendant in the case, Richard Martino, whom prosecutors call a Gambino soldier, designed a sophisticated form of billing fraud now known as cramming, in which bogus charges that are difficult to detect are piggybacked onto normal telephone charges billed to customers.
+He turned to Mr. Matzdorff, a telephone executive, and got him to serve as president of a company called USP&C, a so-called telephone billing aggregator based in a Kansas City, Mo., suburb. The company, actually controlled by New York mobsters, bilked millions of unsuspecting consumers out of more than $500 million over five years, prosecutors say.
+Neither Mr. Matzdorff, who has repeatedly denied he knew his associates were organized crime figures, nor his lawyer, R. Stan Mortenson, of Washington, D.C., returned telephone messages left yesterday."
+False,False,False,False,False,True,False,False,False,False,True,False,False,True,True,False,False,False,False,False,True,False,False,True,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,False,True,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"PUTT AND SELL
+Everybody knows business gets done on the golf course, but at Northern Illinois University in De Kalb, the art of fairway deals is part of the curriculum. Dan Weilbaker, director of the office of selling effectiveness, offers instruction (the next class starts this week) for businesspeople-golfers who want to swing and sell simultaneously. Among the tips: Chat about personal and company background on the first six holes. Shift to biz practices by the 8th. Go in for the kill on the last six, and close the deal on the 19th (the bar) and the 20th (the dinner date). One major question: Should the seller intentionally lose all the side bets? No. 'If the game is thrown, it sets up negative trust in the relationship,' says the prof.
+SUNDAY, SEPTEMBER 6, 1998"
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+IN the presidential campaign season, which is now unmercifully upon us, the worlds of politics, economics and the markets merge. Traders watch opinion polls for guidance on whether to buy or sell, pollsters track the markets for indications of the popular mood, and campaign managers await each new macroeconomic gleaning with the jangled impatience of 3-year-olds at a Wiggles concert.
+While most public opinion polls show the Democratic nominee, John Kerry, with a slim lead, some market and economic indicators are telling a different story. On two exchanges where investors trade contracts on political outcomes -- the Iowa Electronic Markets and Intrade, based in Dublin -- President Bush has a slight lead. And a venerable economic model that uses historical voting results and current economic data to predict presidential votes suggests that Mr. Bush will win by a large margin.
+Intrade's 34,000 members can trade futures contracts on events, like which city will be the host of the 2012 Summer Olympics. Bush futures -- which pay $1 if President Bush wins the election and nothing if he loses -- were trading at 52.4 cents on Friday. That means traders believe Mr. Bush has a 52.4 percent chance of winning re-election.
+Should anyone give credence to such exchanges? 'Our contracts have a much higher predictive value than any public opinion poll because people have to put their money where their mouth is,' said Michael Knesevitch, director of communications and business strategy at Intrade, which was founded in 2001. 'We predicted all the primaries. We also had Edwards as being the vice presidential nominee back in May.'
+The Iowa market, housed at the University of Iowa, has been around since 1988 and makes somewhat less exuberant claims. A comparison of 596 opinion polls with Iowa's presidential futures prices at the time the polls were conducted shows that the futures prices were closer to the actual result 76 percent of the time, according to Thomas A. Rietz, an associate professor of finance at the University of Iowa and a director of the market. As of Friday, Iowa traders thought that Mr. Bush had a 52 percent probability of winning.
+There are reasons to be skeptical about these exchanges, though. The people who trade securities online look a lot more like the crowd at the '21' Club -- most of them affluent white men -- than the voter registration lists. Then there's the margin of error. On the day before the election, the Iowa market typically misgauges the vote share by about 1.37 percentage points, Mr. Rietz said. When the popular vote isn't that close -- in 1996 or 1992, for example -- that is no big deal.
+But in 2000, when the Iowa market projected that Mr. Bush would win a majority of the votes cast for Democrats and Republicans, that seemingly small margin meant the difference between a successful projection and a failed one. Besides, the two exchanges cannot even agree with each other on who will win the popular vote. Intrade's contract on that vote gives Mr. Bush a 46 percent chance of winning; Iowa Electronic Markets traders believe that he will win 51 percent of the two-party vote.
+Throw another economic model into the mix, and the picture becomes more confusing. For more than two decades, a Yale economist, Ray C. Fair, has been testing and refining a model that uses economic data and past results to project the winner of the two-party popular vote. 'The theory is that the economy causes people to vote the way they do,' he said.
+Looking at results dating to 1916, Professor Fair has found that incumbents running for re-election have a head start, that Republican incumbents tend to do better than Democratic incumbents and that an incumbent fares better when his party has not controlled the White House for two terms or more. Thus, he said, 'Bush has the best possible incumbency situation that you could have.' Plug in the variables on growth and inflation, and Professor Fair projects that President Bush will receive 57.48 percent of the two-party vote.
+PROFESSOR FAIR'S model has been remarkably accurate over the years, with an average error of only 2.4 percent. And in each of the last two elections, he has come within 1.3 percentage points of predicting the accurate vote total.
+Great news for President Bush, right? Not necessarily. Professor Fair says the model can misfire when the equation doesn't include significant economic factors that may influence the electorate. It lacks a variable for job creation, for example, which may be a sore spot among voters this year.
+And the model turned in its worst performance when an incumbent named Bush was seeking re-election. In 1992, the model projected that President George H.W. Bush would win 51.7 percent of the two-party vote and retain the presidency. Instead, he received merely 46.5 percent of the two-party vote and lost.
+ECONOMIC VIEW Daniel Gross writes the 'Moneybox' column for Slate.com."
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+In what could become one of the academic world's richest licensing agreements, Glaxo Wellcome Inc. has agreed to pay the University of Minnesota and one of its professors royalties on the sales of Ziagen, an antiviral drug used to treat AIDS. Based on sales projections, the total royalties could exceed $300 million, the university said in a statement.
+The agreement, reached last week, settles a patent infringement lawsuit the university filed last October against Glaxo, the American subsidiary of the British pharmaceutical maker. The university contended that Ziagen was based on antiviral compounds developed by Robert Vince, a professor in its College of Pharmacy. Glaxo was licensed last December to market Ziagen, whose generic name is abacavir sulfate.
+The university is to get two-thirds of the royalty payments. One-third will go to Professor Vince and his research colleague, Mei Hua.
+MICHAEL POLLAK
+NOTEBOOK"
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+Just as I was about to leave my girlfriend, she learned that her father had a severe illness. Figuring it would be unnecessarily cruel to saddle her with a breakup, I kept my feelings to myself. The problem is, her dad remains ill, and I can't figure out when it would be right for me to leave. I have enough affection for her that I want to be honest -- but what is my ethical obligation here? - T. C., Los Angeles
+In dozens of movies starring the Academy Award winner Bette Davis, her married lover is just about to leave his virago wife when she has a horrible riding accident and is confined to a wheelchair. She's faking, but it's a clever fake, because no man worthy of Bette's love would desert an ailing wife.
+You have a similar obligation not to abandon an intimate friend in a crisis. Of course, breaking up need not mean breaking off all contact. If she will accept your support despite this change in your relationship, you can act more quickly, but if a breakup means she'll spurn your help and suffer in isolation, you should wait. You'll have to judge when she is back on her feet, but as for being honest with her, if your romance has foundered, believe me, she knows.
+Those in a hurry to split up often seek justification from another Academy Award winner, William Shakespeare: 'If it were done when 'tis done, then 'twere well it were done quickly.' But the line was spoken by Macbeth; Shakespeare did not intend it as a dating tip. As you know, Macbeth's breakup with Duncan did not go well.
+I'm about to buy a cool S.U.V., but my friends act as if I'm some kind of criminal. Am I?
+It depends where you drive. If it's on the unforgiving lunar surface, no harm done. If you do a lot of off-road driving here on earth, the harm might be justified by need. But if you do most of your driving on paved American roads, then your friends are right.
+S.U.V.'s are inherently dangerous, not for their own passengers but for everyone else. The National Highway Traffic Safety Administration reports that the height and weight of S.U.V.'s make them responsible for roughly 2,000 additional deaths a year, and 20 times more likely than a conventional vehicle to kill other motorists in side collisions. If you have no compelling need for the S.U.V.'s off-road features -- i.e., if your sport utility vehicle has no utility -- there's no way to justify endangering others so you can play cowboy. Why should your fellow motorists support your life style with their life span?
+Indeed, in a city like New York, where the population is dense and the public transportation excellent, it's abhorrent to drive any kind of car at all. Last year, 193 pedestrians and bicyclists were killed by cars, and approximately 15,800 were injured. And that's not the half of it. 'When you talk about damage caused by cars,' says John Kaehny, executive director of Transportation Alternatives, 'you also have to talk about emissions, noise pollution, damage to buildings, delays to motorists, ambulances and deliveries, damage from fuel extraction and shipping and the cost of national security to secure oil lines.' And that toll ($19 billion a year by one credible estimate) is shouldered by all citizens, though far fewer than half actually have a car. Even beautiful preserves like Central Park and Prospect Park allow motorists to speed through, disrupting family picnics in the name of a quicker route to the store. Surely a benign urban vision requires a distinction between a park and a parking lot.
+So if you're planning to drive that S.U.V. in New York, pack a suitcase into your roomy cargo area, because you're driving straight to hell.
+Do you have ethical queries that you need answered? Send them to ethicist@nytimes.com or The Ethicist, The New York Times Magazine, 229 West 43d Street, New York, N.Y. 10036."
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+Evelyn Coke sat in her wood-frame home in Corona, Queens, a hobbled figure, not realizing that this is supposed to be her moment in the spotlight.
+For 20 years, she had cared for clients in their homes, bathing them, cooking for them, helping them dress and take their medications. But now, suffering from kidney failure, she is too ill to work.
+Her mind and memory are not what they once were, she acknowledges, and as a result she is hazy about the important events that will take place on April 16. On that day, the Supreme Court of the United States is scheduled to hear oral arguments in a case in which Ms. Coke, a 73-year-old immigrant from Jamaica, is the sole plaintiff.
+She is challenging Labor Department regulations that say home care attendants, who number 1.4 million, are not covered by federal minimum-wage and overtime laws.
+'I loved my work, but the money was not good at all,' Ms. Coke said in a whispering voice, noting that she often worked three or four 24-hour days a week, sleeping at a client's home, while hardly ever receiving time-and-a-half pay for overtime.
+The stakes in her case are considerable, not least because home care attendant is one of the nation's fastest growing occupations. There are expected to be nearly two million aides by 2014, as the elderly population grows and government pushes for the elderly to be cared for at home rather than in nursing homes, where costs are high.
+Ms. Coke's lawsuit has attracted powerful supporters and opponents.
+The nation's largest health care union, the Service Employees International Union, is backing Ms. Coke's effort because a victory for her could mean larger paychecks for hundreds of thousands of home care aides, many of whom live in poverty.
+AARP plans to file a brief backing Ms. Coke, arguing that the increased pay that would result from requiring overtime coverage would reduce turnover among home care aides and help prevent a shortage.
+The federal government and the Bloomberg administration have lined up against her, arguing that a victory for Ms. Coke could greatly increase Medicare and Medicaid costs, perhaps causing a budget shortfall that could leave many of the elderly without home-care aides.
+In a friend-of-the-court brief, the Bloomberg administration, joined by the New York State Association of Counties, argued, 'In the worst cases, some clients, especially those with high hour needs, might no longer be able to be serviced in their homes and might have to be institutionalized.'
+The Bloomberg administration said a victory for Ms. Coke could force the city, state and federal governments, which all finance home care through Medicaid, to pay $250 million more a year to the 60,000 home attendants who work in the city.
+Some advocacy groups have criticized the city's position, saying it conflicts with Mayor Michael R. Bloomberg's push to reduce poverty because keeping these aides exempt from overtime coverage would hold down their pay.
+The defendant in Ms. Coke's case is Long Island Care at Home, which is based in Westbury and employs 50 aides.
+MaryAnn Osborne, Long Island Care's vice president, said that a defeat in court could put her agency out of business because, with many aides working 60 or 70 hours a week, it might face huge overtime costs. Her agency pays aides $8 to $11 an hour, but a defeat in the Supreme Court would require the agency to pay time and a half, meaning $12 to $16.50 an hour, for overtime.
+'This would be horrendous for the entire industry because the reimbursement rate we get won't cover that type of money,' she said.
+But supporters of Ms. Coke's lawsuit say that if she wins, the government would most likely increase reimbursement rates to compensate for the overtime costs.
+Ms. Coke said that Long Island Care made a lot of money off her, saying she earned just $7 an hour when she last worked there in 2001.
+Moreover, she said, she did not get paid overtime for her 24-hour stints at homes in Great Neck, Roslyn, Manhasset and other communities.
+She said she stopped working because she was hit by a car, injuring her shoulder, and she later had colon and kidney problems. 'The job didn't even give us health insurance,' said Ms. Coke, who goes to a dialysis clinic three times a week.
+The Supreme Court agreed to hear her case after the United States Court of Appeals for the Second Circuit overturned Labor Department regulations that exempted home care aides from federal minimum-wage and overtime coverage, saying the exemption conflicted with Congress's intent.
+Before 1974, home care aides were generally covered by minimum-wage and overtime laws if they were employed by agencies. (Aides hired directly by families were not covered and will remain exempt from overtime regardless of the outcome of Ms. Coke's case.)
+In amending the Fair Labor Standards Act in 1974, Congress extended minimum-wage and overtime coverage to household workers like maids and cooks but said that baby sitters and 'companions' for the elderly and infirm would be exempt.
+When the Labor Department first proposed regulations to enforce the changes in the law, it said that home care workers employed by agencies should continue to get overtime. But the department reversed itself in 1975, saying Congress had not intended to allow those workers overtime when it created the exemptions the year before.
+But the Court of Appeals, sitting in Manhattan, wrote, 'It is implausible, to say the least, that Congress, in wishing to expand F.L.S.A. coverage, would have wanted the Department of Labor to eliminate coverage for employees of third-party employers who had previously been covered.'
+Those urging the Supreme Court to overturn that ruling say the Court of Appeals failed to show proper deference to the Labor Department's decision-making authority.
+Even with the exemption, few home care workers receive less than the federal minimum wage of $5.15 an hour. But many do not receive any overtime premium even when they work more than 40 hours a week. (Under federal rules, workers who sleep in are generally paid for all extra hours on the job, less eight hours' sleep time.)
+Natasha Maye, a home care aide in Philadelphia who is part of a separate suit concerning the minimum wage, is rooting for Ms. Coke. She said that she earned, in effect, less than $5.15 an hour at her former agency because she was not paid for the two hours spent each day traveling between her three clients' homes. Including travel time, she said, she often put in 60 hours a week and earned $300.
+'I don't think that's fair,' she said. 'We should be entitled to overtime and travel time.'
+The Clinton administration, in its next-to-last day in office in 2001, proposed regulations that would restore minimum-wage and overtime protections to home care aides employed by agencies, arguing that the 1975 exemption clashed with Congressional intent. But in 2002, the Bush administration scrapped that proposal, concluding the revised rules would have a severe economic impact on clients, government budgets and home care agencies.
+In its brief, Long Island Care at Home argued that exempting aides who worked for agencies was consistent with Congressional intent because some lawmakers back in 1974 voiced concerns about holding costs down. 'The need to restrain costs in the case of third-party employees has only become more acute as agencies provide an increasing amount of needed care,' Long Island Care said.
+But Craig Becker, the chief lawyer for Ms. Coke, argued that legislative history showed that the exemption to minimum wage and overtime laws was to apply only to baby sitters and companions whowere employed directly by families and were not regular breadwinners.
+'In its exemption for baby sitters and companions Congress had in mind the quintessential neighbor-to-neighbor relations,' Mr. Becker said. 'Increasingly this is not a casual form of work akin to baby-sitting but a full-time regular type of employment.'
+Ms. Coke became a plaintiff through unusual circumstances. After she was hit by the car six years ago, she hired a lawyer, Leon Greenberg. When seeking to determine her economic losses, Mr. Greenberg learned that she sometimes worked 70 or more hours a week without receiving any overtime premium.
+He invited her to bring a test case challenging the federal exemption. Ms. Coke agreed. Mr. Greenberg is no longer involved in the case; her current legal costs are being paid by the service employees union.
+And because of her condition, Ms. Coke now has her own, unpaid, home care aide: her son Michael, a computer technician.
+She said she brought the lawsuit to help hundreds of thousands of home care workers like her for years to come. But she also said there was another reason. 'I just hope I get some money from this,' she said."
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+As the trustees of the City University of New York prepared to vote on a proposal to overhaul the way the university handles remedial education, educators and elected officials angrily contended yesterday that the board was moving too fast to pass what many of them described as an ill-conceived reversal of nearly 30 years of open admissions.
+'You have no moral, ethical or political reason to end a policy which has been a proven success since 1970,' said Blanche Wiesen Cook, a distinguished professor of history at John Jay College of Criminal Justice and the CUNY Graduate School in Manhattan. 'Your proposal is unwise and mocks our best impulses as a democratic nation.'
+Professor Cook was one of nearly 50 faculty members who turned out to address CUNY trustees and administrators at the only public hearing on the proposals before they are placed before CUNY's trustees for a vote on Monday.
+The current draft of the plan calls for removing all remedial courses from the curriculums of the senior colleges over the next several years and placing a one-year limit on remedial work at the community colleges. It would move much of that work into special summer immersion programs and institutes on the college campuses outside the regular college framework.
+The proposal is partly a response to criticisms by Mayor Rudolph W. Giuliani and others that CUNY uses too many of its resources to teach students basic reading, writing and mathematics that they should have learned in high school.
+The three CUNY trustees who are pressing hardest for the remedial cutbacks, Anne A. Paolucci, the board's chairwoman; Herman Badillo, its vice chairman, and John J. Calandra, were at the hearing.
+Used to speaking their minds at length in classrooms and faculty seminars, the speakers had to boil their frustrations down to three-minute sound bites, as CUNY's top administrators and six trustees listened, mostly in silence. But one by one, the speakers rose to chastise CUNY's top officials.
+The critics accused officials of trying to limit the opportunities of thousands of students who enter CUNY not ready for college-level work and pleaded with them to reconsider.
+Peter Ranis, a professor at York College in Queens and the CUNY Graduate Center, said that the CUNY proposals were 'a cruel deception that will only serve to compound the neglect of the public schools.'
+Lorraine Beaky, a professor of English literature and composition at La Guardia Community College in Queens, attacked the trustees for the process they were using to consider changes in remediation. She said she was appalled at their 'dismal intellectual performance, the bumbling, the confusion, the lack of basic clarity of statements and procedures.'
+In more than three hours of testimony, not one person spoke in favor of the remediation proposals. Earlier in the day, several City Council members attacked the CUNY proposals, saying the changes would hurt students and New York City.
+'This plan punishes the victims,' said Helen M. Marshall, a Democratic City Council member from Queens who is chairwoman of the Council's committee on higher education. She will conduct hearings on the university's proposals on Thursday. 'Students who did not get a proper education are being penalized,' she said.
+State Assemblyman Edward C. Sullivan, Democrat of Manhattan, who is chairman of the Assembly's committee on higher education, said he and his colleagues were troubled by the proposals, and that some of them had formed an ad hoc committee on open admissions to support an open enrollment policy at CUNY.
+'The notion that there is a limited time period within which a student must get a degree or must complete his or her college preparatory work is ridiculous,' he said in a statement.
+Although critics of CUNY sometimes characterize the faculty as burned-out professors interested only in defending their own jobs, yesterday's speakers were an impassioned lot, who referred repeatedly to the students they treasured.
+Gary Benenson, a professor of mechanical engineering at City College in Manhattan, said the remedial plan would close the doors to students like Derek Williams, the son of a sanitation worker who entered the college six years ago and is on the brink of graduation. Mr. Williams had to take three remedial math courses and a remedial English course, but he now has a 3.4 average and a job offer from General Electric's diesel locomotive division in Erie, Pa.
+Professor Benenson said that Mr. Williams would be 'one small addition to the mere 7 percent of engineers nationally who are African-American.' He said this would not have been possible had the remedial limits been in place.
+Correction:  March 19, 1998, Thursday  An article on Tuesday about a hearing on remedial education at the City University of New York referred incorrectly in some editions to the three trustees who are pressing hardest for cutbacks in remedial programs. The three, Anne A. Paolucci, Herman Badillo and John J. Calandra, were not present at the hearing. The article also misstated the given name of a professor who attended. She is Lenore Beaky, not Lorraine."
+False,False,False,False,True,True,True,False,False,False,True,True,False,False,False,False,True,True,False,False,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,True,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,True,False,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,True,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,True,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,"CUNY Chief Makes Pitch For Position In Alabama
+W. Ann Reynolds, the Chancellor of the City University of New York who has been harshly attacked in recent months by leaders of the university's governing board, appeared today before the trustees of the University of Alabama and made an eager pitch to become president of their Birmingham campus.
+'If the job is offered, I would be pleased to do everything I can to make this system very successful,' Dr. Reynolds said in a 90-minute public interview with the trustees. 'If you need me in Tuscaloosa before a critical game, to tutor a student, I'll be there.'
+Dr. Reynolds is one of two finalists for the post of president of the University of Alabama at Birmingham. The other is J. Bernard Machen, the provost at the University of Michigan. He will be interviewed Thursday morning, and the trustees plan to announce their decision after they talk with him.
+By the time Dr. Reynolds's session was finished, faculty members, students and trustees appeared to be impressed.
+'I think she's a very impressive person,' said Jack Edwards, an Alabama lawyer  who served in Congress for 20 years and is chairman of the university's board of trustees. 'She has been through the crucible. That certainly is an advantage in a university setting to have been there and done that.'
+Fred Trawick, a professor of marketing who is chairman of the faculty senate, said, 'I was pleasantly surprised. She is very polished, very charming.' He, too, liked the fact that Dr. Reynolds is an experienced administrator, 'who has been there and done that in big systems.'
+Dr. Reynolds stopped short of making an outright commitment that she would take the job if it was offered. And before the meeting with the trustees, she was very careful with her words. 'I don't know,' she said. 'This is a very professional search. The university is looking at me and I'm getting acquainted with them. This is a very, very impressive place.'
+But Professor Trawick said he believed that she was truly interested in moving to Birmingham. 'I think she was genuine about wanting to go back to campus life and to have faculty and student contact. We talked to her about that this morning. I believe she is a good candidate.'
+Mr. Edwards said that the trustees had not asked her directly whether she would take the job, but, he added, 'I have to assume that those who have come for the interviews would take it if offered.'
+The job would be far less powerful than Dr. Reynolds's current and previous jobs. She would move from head of the nation's largest urban university system, with 21 campuses and 208,000 students to a branch of the University of Alabama system, the 16,000-student campus here, which has a noted medical school and a 960-bed hospital. They both have budgets of more than $1 billion.
+The system's flagship campus is in Tuscaloosa. Before coming to CUNY, Dr. Reynolds led the California State University system of 337,000 students and 22 campuses, but she left under duress after inquiries into the Chancellor's office spending.
+Underlying the tensions there, as in New York, was a consistent criticism among faculty and some administrators that her leadership style tended toward the autocratic and that she did not work hard enough to build consensus for changes in curriculum, long the protected domain of the faculty.
+In addition, she has come under fire from Mayor Rudolph W. Giuliani and several CUNY board members who say she has not done enough to improve academic standards. Relations with the board were further strained this spring after an embarrassing series of disclosures that City University community college campuses were awarding degrees to students who could not pass basic English writing tests.
+Anne A. Paolucci, who took over as chairwoman of the CUNY trustees in February, has been particularly critical of Dr. Reynolds and has made it clear that her job is on the line.
+Reached last night, Herman Badillo, the vice-chairman of the CUNY board, wished her well. 'If she's trying for it, I hope she gets it,' he said. In the interview with the trustees, Dr. Reynolds sent a conciliatory message to her current employers.  'If I were not to come here,' she said, 'I pledge to do the utmost to carry out the will of the board members at CUNY.'
+The tenor of today's meeting stood in marked contrast to the tension Dr. Reynolds has faced recently in New York. The session was a genial affair marked by frequent laughter.
+When asked by one trustee to talk about her family, Dr. Reynolds responded, 'I find families fascinating and I'd love to know about all of yours,' to much laughter.
+The chancellor of the University of Alabama, Thomas C. Meredith, who has been in office since June, talked of the need for a president who can run a complex organization right away and suggested that Dr. Reynolds was just such a person.
+Some see Dr. Reynolds as the underdog in the competition, although she has broader administrative experience than Dr. Machen. Birmingham's past presidents have all been doctors or dentists. Dr. Reynolds has a Ph.D. Another possible drawback, as a female trustee pointed out, is that the university system has not had a female president or chancellor and the state has relatively few professional women.
+Asked later about how much time she spends as a director of four corporations, a contentious matter at CUNY, she talked of how she used her directorships 'shamelessly for the benefit of the university.'
+The Alabama trustees were clearly aware of the disputes Dr. Reynolds has had with CUNY's trustees and faculty, and asked her gentle but pointed questions about them. One trustee asked her to describe her 'very tough management style that seems to bring criticism.'
+Dr. Reynolds replied that she had 'always been polite and very thoughtful' to the needs and personal concerns of university employees, but she acknowledged that 'I tended to insist that people who reported to me worked very hard for the university.'
+She added: 'I believe I have done so in a professional manner, and I was probably most demanding of myself.'
+On her relations with her board of trustees, she said that in both New York and in California before that,  she had worked very closely with the trustees who had hired her, but ran into problems when there was 'massive turnover' of the boards. She complimented the Alabama system, where turnover is more gradual.
+The trustees and many of the faculty members and students in the audience, about 40 people, seemed to accept her explanations. One trustee told her that he had talked recently with a member of the CUNY board appointed by Gov. George E. Pataki. 'He wanted to assure me that your squabbles had nothing whatever to do with your competency,' the trustee said. 'I told him that we were very familiar with political squabbles.'"
+False,False,True,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,True,True,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,True,True,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,True,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,True,True,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,"The Neediest Cases; Chronically Ill Mother Gets Some Help
+Esther Clay walks slowly and uses a cane. Her vision is clouded by glaucoma and her halting steps, like her quiet, slurred speech, are lacking in confidence.
+Though she is just 32, Ms. Clay, who lives in southern Brooklyn, appears in many ways more like a woman twice her age, because she has multiple sclerosis, a chronic disease believed to be caused by the body's immune system attacking the central nervous system.
+'I walk like I'm drunk, but I'm not,' Ms. Clay said. 'I get weak. I get dizzy. I just don't feel good.'
+People with multiple sclerosis have symptoms that vary from mild, like numbness in the toes, to severe, like memory problems, blindness or paralysis. Ms. Clay falls somewhere in the middle, said her doctor, Marshall Keilson, associate director of the multiple sclerosis care center at Maimonides Medical Center in Brooklyn.
+'The future with M.S. is always uncertain and unpredictable. That's the worst part of the illness,' Dr. Keilson said. 'But based on statistics, it's likely that she will gradually decline over time.'
+Dr. Keilson said he had put Ms. Clay on recently developed medications designed to treat the causes of the disease, as opposed to earlier medications that had only treated symptoms. 'We're hopeful that this will slow the course of the illness, if not stabilize it altogether,' he said.
+Ms. Clay, too, is optimistic, because after nine years with the disease, she can still walk, still feel her toes, still see. But she cannot remain standing or even sitting upright for long periods, and she is too easily fatigued to have a job, she said.
+'Some days I have a good day and sometimes I have bad days,' Ms. Clay said. 'On bad days, I feel blah, I don't want to be bothered by nobody.'
+Ms. Clay, who has a 12-year-old daughter, Christina, receives $68.50 every two weeks in public assistance, $29 a month in food stamps, and $554 a month in Supplemental Security Income. She also receives $40 a week in child support payments from Christina's father, who lives in the Bronx.
+The money allows them to pay for food and other necessities. But it only goes so far. Ms. Clay sleeps on a foam egg-crate mattress and does not have a comforter or even a sheet to cover herself. And until recently, Christina slept on the couch in the living room of their apartment in the Linden Houses, in New Lots, the only piece of furniture in that room other than a wooden chair and a blue plastic storage bin that holds the family's television.
+But in October, Christina got a bed that was paid for using $254 from The New York Times Neediest Cases Fund. The Clays frequently get help from the Brooklyn Bureau of Community Service, one of the seven local charities supported by the fund. The bureau gives them access to a food pantry when they need it, and in the summer used $177 from the fund to prevent the family's electricity from being turned off when Ms. Clay could not pay the Con Edison bill.
+'Our program works with parents who are experiencing problems in the home,' said Carrie Sogg, a social worker at the bureau who helps Ms. Clay. 'I work as a therapist and do some advocacy on their behalf.'
+Ms. Sogg put Ms. Clay in touch with the National Multiple Sclerosis Society, and gives her advice on how to manage her budget and take care of her daughter.
+Now that Christina has a bed, she also has a place to do her homework.
+Without a desk or even a kitchen table, Christina, a seventh grader at a nearby public school, spends hours each day on her bed, writing essays, improving her vocabulary, and solving math problems.
+She said she wants to attend an Ivy League college, and hopes to become a pediatrician. 'I want to help kids,' she said. 'I like kids a lot.' She added, 'Ever since I was 5, I have liked to play around with doctors' stuff.'
+When asked about her Thanksgiving, Christina said she was thankful for her health and for the food she ate that day. She said that for Christmas, she wants to get the third book in the Harry Potter series and a Nintendo GameCube.
+Her mother remains upbeat about her own health. 'I'm a very optimistic person. I feel that they're going to find a cure for M.S.,' Ms. Clay said. 'It's not going to beat me. I'm going to beat it.'
+HOW TO HELP
+Checks payable to The New York Times Neediest Cases Fund should be sent to P.O. Box 5193, General Post Office, New York, N.Y. 10087, or any of these organizations:
+BROOKLYN BUREAU OF COMMUNITY SERVICE  285 Schermerhorn Street, Brooklyn, N.Y. 11217.
+CATHOLIC CHARITIES OF THE ARCHDIOCESE OF NEW YORK  1011 First Avenue, New York, N.Y. 10022.
+CATHOLIC CHARITIES, DIOCESE OF BROOKLYN AND QUEENS  191 Joralemon Street, Brooklyn, N.Y. 11201.
+CHILDREN'S AID SOCIETY  105 East 22d Street, New York, N.Y. 10010.
+COMMUNITY SERVICE SOCIETY OF NEW YORK  105 East 22d Street, New York, N.Y. 10010.
+FEDERATION OF PROTESTANT WELFARE AGENCIES  281 Park Avenue South, New York, N.Y. 10010.
+UJA-FEDERATION OF NEW YORK*  FDR Station  P.O. Box 5314  New York, N.Y. 10150
+No agents or solicitors are authorized to seek contributions for The New York Times Neediest Cases Fund.
+Donations may be made with a credit card by phone at (212) 556-5851 (ext. 7) or online, courtesy of CharityWave.com, an internet donations service, at www.nytimesneediest.charitywave.com. For instructions on how to donate stock to the fund, call (212) 556-1137 or fax (212) 556-4450.
+The Times pays the fund's expenses, so all contributions go directly to the charities, which use them to provide services and cash assistance to the poor.
+Contributions to the fund are deductible on Federal, state and city income taxes to the extent permitted by law.
+To delay may mean to forget.
+Previously recorded: $3,921,673.88  Recorded Tuesday: $42,790.00  Total: $3,964,463.88  At similar period last year: $4,519,153.62"
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+If box-office receipts are any indication, the almond-eyed alien is becoming the smiley face of the 90's. But there may be fewer believers after last night's banquet at the 34th National U.F.O. Conference, held in Springfield, Ohio. The after-dinner speaker was James Moseley, a veteran U.F.O. researcher and skeptic whose tart lectures on the phenomenon have prompted some among the U.F.O. faithful to conclude that he's a Government agent.
+A slight, bespectacled man, Moseley is a subculture legend who has served as the Walter Winchell of U.F.O.'s since 1954. His newsletter, Saucer Smear, remains required reading for buffs, even when it's puncturing dearly held beliefs. (One competing ufologist called him 'a boil on the $(expletive$) of ufology.') After four decades of monitoring the scene and seeing no proof of alien craft, Moseley says he's given up on believing in outer-space visitors, a conclusion that may be catching on. After a summer of hoopla inspired by the 50th anniversary of the Roswell Incident, the case -- the granddaddy of them all -- stands on E.T.-spindly legs. Four books are either just out or in the works that debunk it, a backlash that Moseley finds surprising. 'There isn't much money in being against something like that,' he says.
+So why bother keeping up? 'The craziness of it all,' Moseley says. 'If you take the proper point of view, you can enjoy this, see human nature in its peculiarities. Whatever the reality is behind it, if any, is a secondary thing.'  SUNDAY: SEPTEMBER 7, 1997: U.F.O.'S"
+False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,True,False,True,True,False,False,True,False,False,True,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Tribute to Illinois Jacquet
+A memorial service for the jazz saxophonist Illinois Jacquet will be held at 11 a.m. today at Riverside Church, Riverside Drive at 122nd Street in Morningside Heights. Mr. Jacquet died last Thursday at 81.
+The service is open to the public and is to include performances by Jimmy Heath, Clark Terry and others. A viewing will precede the service at 9 a.m."
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+Billy Dorminy was perspicuous, talking about poecilonyms on television, and there was nothing pusillanimous about the way he did it.
+Words, words, words. They were flying inside the main New York Public Library yesterday, where Billy, 16, of McDonough, Ga., was one of 50 finalists in the National Vocabulary Championship, which promised to reward high school students whose strength is verbal acuity with money for college tuition.
+This is a group that knows what is pulchritudinous and what is pulverulent. This is a group that knows who is ridiculous, who is nidicoulous and who is nidifugous. This is a group that knows what is Brobdingnagian and what is merely colossal.
+And this is a group that knows what to do when the television cameras are on. GSN, a cable network that carries game shows, turned the library's Celeste Bartos Forum into a television studio, the better to videotape the competition.
+The host, Dylan Lane, questioned the contestants the way game-show hosts do, making friendly chatter with jittery people who have buzzers in their hands. When Billy's turn came, he told Mr. Lane that he knew a synonym for synonym: poecilonym.
+He said he had discovered it on a list of words on a Web site. What he did not tell Mr. Lane was that he posted an entry on a different site that begins: 'Hello, my name is Billy Dorminy, and my favorite word is 'poecilonym.' 'Poecilonym' is just a synonym of 'synonym'!'
+Something else he did not tell Mr. Lane was that he came in fourth in the National Word Power Challenge ('out of the three million participants nationwide') a couple of years ago.
+But yesterday, he was outbuzzed by faster competitors and was eliminated in the first round.
+The GSN crew led him upstairs at the library, where he watched a brief snow flurry through a big window while other contestants parsed and parried downstairs. He said he had a word for what he hoped would fall: graupel. 'A snow pellet that breaks apart when it hits the ground,' he explained. Which was pretty much the dictionary definition. (It also refers to 'soft hail.')
+Leah Libresco, 16, of Mineola, N.Y., advanced to the second round on a question that called for her to choose the word that did not belong among these three: catapult, disrupt and impede. 'I was like, I'm not missing catapult,' she said. 'PBS did a special on trebuchets. It's a special kind of catapult.' A stone-hurling medieval engine of war, also spelled 'trebucket.'
+There were grownups who showed off their vocabularies, or tried to. Mayor Michael R. Bloomberg, appearing before the taping began, used words not often heard at City Hall: 'coruscating' (referring to the 'dazzling' contestants), 'paresthesia' (to say there was a 'tingling' in the room), and 'sexagenarian' (referring to himself).
+Rich Cronin, the president and chief executive of GSN, said he was not just thrilled to watch the competition, he was also euphoric. 'One person will be the 'American Idol' of vocabulary,' he said. (In the end, after an afternoon with its share of technical difficulties and dashed hopes, the winner was Robert Marsland, 18, of Madison, Wis. He will receive $40,000 toward college tuition. The winners in the finals and in the earlier citywide competitions held nationwide divided more than $80,000 in tuition money. The Princeton Review, a tutoring and test preparation service, came up with the questions.)
+Off camera, it took Joel Chiodi, GSN's vice president for marketing, a moment to remember a word he had learned from listening to contestants around the country.
+'I'll get back to you,' he said.
+A moment later, he did.
+'Penultimate,' he said. 'It means second to the top, or second best.'
+But the judges would not have bought that definition. The dictionary says penultimate means next to last.
+The contestant who finished third was Daniel James Theobald Verdon Thorn of Teaneck, N.J., who said his parents had given him so many names because names were one of the few things they could give him that were free.
+After advancing to the second round, he said he was impressed by the competition. 'Other people seemed so much better than me,' he said. 'I had been on a couple of other TV shows with buzzers, so I figured my buzzing skills were up to par.'
+Micah Jordan, from the Pablo Neruda Academy in the Bronx, had won a citywide competition that earned him his place at the finals. Last week, the school held a pep rally for him. But he was eliminated in the first round.
+Later, he looked disappointed but said he felt sagacious.
+'Sagacious comes from sage, which is a wise person,' he said. 'I've been through it now. I know what to expect the next time.'
+Mr. Cronin of GSN said he had given Micah some advice. 'Remember Jennifer Hudson didn't win on 'American Idol,' ' he said. 'She did win an Academy Award.'
+Correction:  March 8, 2007, Thursday  An article on Tuesday about the National Vocabulary Championship for high school students misspelled a word described as one of several that the students would likely know. It is nidicolous, not nidicoulous. (For those of us not in the know, it means: remaining in the nest for some time after hatching, as some birds; or living in the nest of another species.)"
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+Autumn's here. Time for children to ponder nature's eternal questions. Why do leaves fall? Why do geese fly south? And: After you drive an arrow into the side of an eight-point buck, what do you do next?
+The last one came up at Kamp for Kids, a bowhunting program founded by Ted Nugent, a rocker best known for 'Cat Scratch Fever.' Held in the woods near Caseville, Mich., Kamp offers a potent blend of hunting, clean living and preaching about the future of America. Eagerly, several of the 80 kampers chimed in with an answer: 'You gut him!'
+'You can't gut him out, kids,' explained Chuck Buzzy, a counselor. 'You don't know he's dead!' Nope, first you watch carefully, poking an eye if need be. Then you gut him.
+Granted, Ted's Way is a bit raw, but get used to it -- the man has a following, and he's powering up like some sort of backwoods Limbaugh. Nugent now claims 30,000 members of Ted Nugent United Sportsmen of America, a lobbying organization, and his spokesman says he has received 'serious offers' to run for Congress and Senate. (Declined so far, but nothing has been ruled out.) Nugent's message combines National Rifle Association feistiness, a humanitarian streak (his Hunters for the Hungry program donates wild venison to the needy) and a Just Say No edict against drugs, alcohol and tobacco. 'I'm an old man, but I have so much fun it's unnatural,' Nugent told his charges on the Kamp's last day. But he has it cleanly, rejecting 'the insanity of other rockers, who got high on drugs until they choked on their own vomit.'
+After his spiel, Nugent handed out prizes. A 14-year-old girl received a $200 dollar taxidermy certificate. Her eyes welled up. So did Ted's. Then he sang original hunting songs, unplugged.
+SUNDAY SEPTEMBER 22, 1996: THE GREAT OUTDOORS"
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+Correction:  March 21, 2006, Tuesday  A front-page picture caption in some copies on Sunday about the funeral procession for Slobodan Milosevic, Yugoslavia's former president, misstated the location. It was Pozarevac, Serbia, Mr. Milosevic's hometown, not Belgrade."
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+MANY New Yorkers, worrying about long trials and the possibility of being sequestered, will do almost anything to avoid jury duty or at least postpone it to a more convenient time. But when the characters in 'The Jury,' a six-hour mini-series that begins tonight on 'Masterpiece Theater,' receive their notices to serve, they react with enthusiasm, regarding it as something of a prize.
+Such a uniform acceptance of a civic duty is a case of 'wish fulfillment on my part,' said Peter Morgan, who wrote the screenplay. Before starting 'The Jury,' he asked himself, 'What would happen if I were summoned for a murder trial? What impact would it have on my life?'
+Mr. Morgan expressed his regrets that he had never been a juror, which he attributed to his 'reckless past,' adding that rarely is anyone rejected from an English jury, and then only when there is a clear-cut conflict of interest. And yet, he said, many in England have never served (and that includes Pete Travis, the director of the mini-series, and Helen McCrory, who plays one of the jurors).
+Apparently it is easier both to get on and off a jury in England than it is in the United States. (In New York, exclusions have been eliminated, so that lawyers, movie stars and President Bill Clinton all receive their notices -- although many years ago I witnessed the rejection of Christopher Reeve from a Manhattan jury pool because it was felt that Superman would automatically sway all other jurors.)
+Even American viewers who pride themselves on their knowledge of English courts collected from dramas like 'Witness for the Prosecution' and 'Rumpole of the Bailey' may learn something new from 'The Jury.' For example, a British judge sensing prolonged deliberation with no end in sight can apparently ask for an 11 to 1 or a 10 to 2 decision. This rule, among other things, prevents 'The Jury' from becoming 'Twelve Angry Men,' an American courtroom classic familiar to the characters in the mini-series, one of whom suggests that the juror played by Michael Maloney be elected foreman because he looks the most like Henry Fonda. (Actually, he doesn't.)
+There is no Superman, or even a heroic lone dissenter in 'The Jury.' The shy man chosen as foreman (Mr. Maloney) is continually browbeaten by his father-in-law, who takes an increasingly intrusive role in trying to solve the case. Ms. McCrory plays a beautician married to a jealous insurance investigator portrayed by Mark Strong. (Coincidentally, the two played opposite each other in the recent Donmar Warehouse productions of 'Uncle Vanya' and 'Twelfth Night' at the Brooklyn Academy of Music.) Every morning before she enters the court, Ms. McCrory's character changes her clothes and glamorizes herself in the ladies' room. During the trial, she begins a romance with a recovering alcoholic (Gerard Butler) who sees his jury duty as part of a 12-step program toward stability. Similarly a bond develops between an elderly widow (Sylvia Syms) and a former Roman Catholic seminarian (Stuart Bunce).
+'We weren't making a whodunit,' Mr. Travis said. Instead, he was trying to show the pressures endured by those who sit in judgment. 'All these people have no emotional center in life, yet they are asked to be certain about murder,' he said.
+Juries, he continued, 'never know if they've got it right.'
+The case presented in 'The Jury' is no exception. The trial concerns the killing of a white teenager slashed to death with a ceremonial sword. The accused is a Sikh schoolmate (played by Sonnell Dadral) who has been severely persecuted by his fellow students. Mr. Morgan said he was inspired by the O.J. Simpson trial and the Stephen Lawrence trial, in which five young white men in London were accused of murdering a black teenager.
+The Lawrence trial was the subject of a film shown on 'Masterpiece Theater' last year, a prelude to what seems to represent a socially conscious turn in 'Masterpiece Theater.' The series shown last month, George Eliot's 'Daniel Deronda,' dealt with anti-Semitism in 19th-century England, and the one scheduled for May is an adaptation of 'White Teeth,' Zadie Smith's novel about Jamaicans and Bengalis in contemporary London.
+Rebecca Eaton, the executive producer of 'Masterpiece Theater,' said it was accidental that all three series were concerned with multiculturalism, adding that each derived from very different sources: a classic, a television play and a recent novel. But it was, she said, probably a comment on the idea 'that racism and diversity are alive and well in literature through the ages, certainly throughout the 19th and 20th centuries.' She added that 'White Teeth' was 'arguably the only series that deals with a sympathetic look at a Muslim family living in London.'
+In 'The Jury,' the actions of the Sikh defendant, before and after the murder, are repeatedly re-enacted as everyone tries to assess guilt or innocence and as opposing counsels -- Derek Jacobi as the Queen's Counsel (for the defense), Antony Sher as the prosecuting attorney -- battle with words.
+To research their roles, the actors observed cases at the Old Bailey, where parts of 'The Jury' were filmed. Ms. McCrory said that many of the trials she watched were for petty crimes, posing questions like 'Did my wife walk into the wall or did I hit her?' But watching trials and also speaking to jurors made her realize that taking such a responsibility affected and, in some cases, changed their lives. All this worked to her advantage when she played her character. (Broadening her view, the actress went on to become a barrister on a British television series.)
+To give an immediacy to the performance, the actors were not told the verdict until the day before the final scene was filmed. When it was suggested that perhaps they should have been asked to reach their own conclusion, the director laughed at that possibility. He said that were the verdict left up to the cast, 'we would still be shooting.'
+COVER STORY"
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+LEAD: Prime Minister Margaret Thatcher of Britain being greeted with a welcoming song by refugee children as she visited the Site B refugee camp on the Thai border. Mrs. Thatcher said Prince Norodom Sihanouk, leader of one of three major Cambodian guerrilla groups, 'has a crucial part to play' in achieving peace in Cambodia.
+Prime Minister Margaret Thatcher of Britain being greeted with a welcoming song by refugee children as she visited the Site B refugee camp on the Thai border. Mrs. Thatcher said Prince Norodom Sihanouk, leader of one of three major Cambodian guerrilla groups, 'has a crucial part to play' in achieving peace in Cambodia. Prince Sihanouk is seeking direct talks with the Vietnamese-backed Government. (Agence France-Presse)"
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+LEAD: Klaus Barbie, the Nazi Gestapo chief of Lyons, France, in court before start of trial for crimes against humanity. Page A3. (AP)
+Klaus Barbie, the Nazi Gestapo chief of Lyons, France, in court before start of trial for crimes against humanity. Page A3. (AP)"
+True,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,True,True,False,True,True,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,True,False,False,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,True,False,False,True,True,False,False,False,False,False,True,False,True,True,False,True,False,False,False,True,False,True,False,True,False,False,True,False,True,False,True,False,True,False,True,True,False,False,True,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,True,False,True,False,True,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,"The Balkans Rapes: a Legal Test for the Outraged
+Horrified by accounts of mass rapes in the ethnic fighting in Bosnia and Herzegovina, women's advocacy groups and human rights groups are seeking legal avenues to stop the assaults and to prosecute those responsible as war criminals.
+The groups have formed the Ad Hoc Women's Coalition Against War Crimes in the former Yugoslavia, a group that now meets regularly to discuss how to put pressure on the international law system to bring people responsible for rape to justice. At the same time, the coalition is discussing how the violation of Balkan women is an exaggerated reflection of sexual violence against women worldwide, and how that pattern of behavior and attitudes about it can be changed.
+While rape by soldiers is as old as war itself, lawyers say, it has rarely been treated as a war crime or a human rights offense. But they say this conflict, in which Bosnian Serb soldiers are reportedly being ordered to rape Muslim women as part of a pattern of abuse aimed at driving them from their homes, may signal a change in attitudes toward wartime rape.
+""In the past, rape as a tactical form of warfare has really been overlooked,"" said Dorothy Thomas, director of the Women's Rights Project of Human Rights Watch, an advocacy group that works with the coalition. ""We know it's happened almost everywhere, but only now is the message getting out that it is not acceptable -- that it's not booty. It's abuse."" Estimate of 20,000 Rapes
+Last week a fact-finding team of the European Community estimated that 20,000 Muslim women had been raped since the fighting began last April. The team, which visited Muslim refugees in Croatia, concluded that mass rapes there were a strategy of war and not just crimes of opportunity by individual soldiers.
+But even considering the enormity of the wrongdoing, as a legal matter, prosecution for war crimes is a difficult task. There is no international criminal court, and setting up a tribunal for war crimes, as the Allies did at Nuremberg after World War II, depends as much on favorable political winds as on legal precepts.
+So in addition to pressing the United Nations to create a tribunal to try such crimes in the former Yugoslavia and other Balkan nations, lawyers working with the women's coalition are exploring the idea of helping individual women file complaints under the Convention Against Torture, a treaty signed by Yugoslavia before its breakup in 1991. They said they were also considering the possibility of filing civil or criminal charges against wrongdoers when they come to the United States, using the concept of universal jurisdiction, which holds that certain crimes against humanity may be tried anywhere.
+Many women researching the law are frustrated by the knowledge that most traditional routes of international law lead at best to a formal declaration, long after the fact, that a wrong has occurred. It is usually impossible to intervene to stop the rapes or to win restitution for women who have been forced into prostitution or imprisoned until they bore children for the men who raped them. Women are said to be enduring both kinds of ordeals in the Balkans.
+""We need this stopped while the war is going on, and that's what international law is worst at,"" said Catharine MacKinnon, a University of Michigan law professor working with Kareta, a Croatian women's group. Sending a Message
+Still, many human-rights advocates involved in the effort assert that it is important to seek international justice, even years after the fact, as a means of changing attitudes toward wartime rapes.
+""It may seem frustratingly abstract in terms of what's happening to women, but it's crucial,"" said Rhonda Copelon, a law professor at the City University of New York who is working with the coalition. ""It sends a message that this can no longer be done with impunity, and it's important for the women in coming to terms with their experience.""
+The Geneva conventions, which provide for the humane treatment of civilians and the military in wartime, prohibits rape and enforced prostitution. And the conventions' list of ""grave breaches,"" that is, infractions serious enough to be tried as war crimes, includes torture or inhuman treatment and the willful ""causing of great suffering or serious injury to body or health.""
+Legal experts involved in the coalition's work said they believed that the language gives them the necessary tools to argue for a war crimes tribunal on rape.
+In the last international tribunal on war crimes, at Nuremberg, rape was not charged, according to Telford Taylor, the chief American counsel. Some legal experts suggest that this was not because of an absence of such atrocities but because of official inattention to them.  A Violation of Rights
+Ms. MacKinnon and others contend that rape in the international context of war has been ignored in the same way that rape in the United States used to be all but ignored by prosecutors. Before the 1960's rape charges were seldom brought, mainly because prosecutors were disinclined to bring charges for a crime in which, in most cases, the offender is an acquaintance of the victim, and because strict legal requirements were in place concerning corroboration by a third party and the degree of resistance by the victim.
+""The Geneva Convention covers rape, but it's one thing for there to be a statement that rape is a crime, and another for that to have any impact on the reality of women's lives when it's winked at, defined away and ignored,"" Ms. MacKinnon said.
+She contends that just as rape in the context of war is a violation of human rights, rape in a peacetime context should be seen as a civil rights violation. And she and others say they believe that rethinking wartime rape, so that it relates to peacetime rape, can benefit women long after the fighting in the Balkans ends.
+Indeed, the organizers of the women's coalition say the mass rapes in the Balkans have galvanized a wide assortment of groups who are concerned with women's rights and convinced that the violence against Bosnian women is not so far removed from rape in the United States.
+""We're getting a lot of calls from women who work with rape crisis centers,"" said Marie Wilson of the Ms. Foundation for Women. ""They're horrified by the stories of mass rape, and they also see it as an opening to focus attention on how rape and violence work against women systematically, in this country, too, where the median age at which girls are sexually assaulted is 11 1/2, when they are just beginning to find their own voice.""
+Among the many other groups in the coalition are Equality Now, Amnesty International, the Fund for a Feminist Majority, Women's Action Coalition, the Center for Women's Global Leadership and the Center for Reproductive Policy and Law.
+On a separate track, at the United Nations, the accounts of atrocities in the Balkans have been so troubling that last October the Security Council created a five-member Commission of Experts to investigate reports of war crimes in the Balkans.
+Depending on its report, the Secretary General could ask the Security Council to establish a special tribunal on war crimes. Alternatively, the General Assembly could take action on longstanding proposals to create a permanent criminal international court to consider charges against Serbian soldiers.
+""I think the momentum is there now for an ad hoc war crimes tribunal for Yugoslavia,"" said Cherif Bassiouni, a law professor at De Paul University who is the investigator for the Commission of Experts.
+Ms. Copelon and others say that even if the United Nations does not create a war crimes tribunal, charges can probably be brought against those responsible for the rapes through other routes.
+The most promising is probably the Convention against Torture, which provides for complaints by individuals. In theory, the Convention on Genocide can also be used if the rapes and forced pregnancies are shown to be a part of a plan to eliminate a group of people and if any nation brings such a complaint to the International Court of Justice in The Hague.
+But while the women's coalition can try to push international bodies to take action, the only legal weapon in their own hands is the filing of civil suits in this country. In those suits, the injured women can seek monetary damages from those who have wronged them and the sanctions can be taken whenever the wrongdoer sets foot in the United States.
+""There is a notion of universal jurisdiction over those who violate the norms of international law, and we have used it successfully in the past,"" Ms. Copelon said. ""It's what we have used against some torturers, when they came to this country. It's what was used against Marcos."""
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+LEAD: Seven former Defense Secretaries in Atlanta to attend a panel discussion. They all expressed support for the emerging treaty to eliminate medium- and shorter-range nuclear arms, but were sharply divided on their appraisal of U.S. military policy in the Persian Gulf. They are: Robert S. McNamara, who served during Kennedy and Johnson Administrations; Donald H.
+Seven former Defense Secretaries in Atlanta to attend a panel discussion. They all expressed support for the emerging treaty to eliminate medium- and shorter-range nuclear arms, but were sharply divided on their appraisal of U.S. military policy in the Persian Gulf. They are: Robert S. McNamara, who served during Kennedy and Johnson Administrations; Donald H. Rumsfeld, Secretary under President Ford; Melvin R. Laird, who served in the Nixon Administration; Clark M. Clifford, who served in the Johnson Administration; James R. Schlesinger, Secretary under Presidents Nixon and Ford; Harold Brown, who served in the Carter Administration, and Elliot L. Richardson, who served in the Nixon Administration. The discussion is to be broadcast Oct. 23 by the Public Broadcasting Service. (The New York Times/Alan S. Weiner)"
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+Calling British libel law antithetical to the protections afforded the press by the United States Constitution, a New York judge declined Wednesday to enforce a $70,000 libel judgment issued recently by a London jury against a Manhattan-based publication.
+The decision, written by Justice Shirley Fingerhood of State Supreme Court in Manhattan, is the first time a New York court has refused to enforce a foreign libel decision, lawyers familiar with the case said.
+While Britain shares many legal principles with the United States, Justice Fingerhood wrote, it lacks a First Amendment, the protections of which ""would be seriously jeopardized by the entry of foreign libel judgments granted pursuant to standards deemed appropriate in England but considered antithetical to the protections afforded the press by the U.S. Constitution.""
+The ruling was issued against India Abroad Publications Inc., a New York-based news service, in a suit brought by Ajitabh Bachran, an Indian businessman who the news service incorrectly reported had been implicated in an arms scandal.
+News organizations including The New York Times, Time Warner, Newsweek, CBS, and Random House, joined in a brief opposing the judgment."
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+Unraveling Yugoslavia
+The political tangle in Eastern Europe has yielded another group of new stamps, this time from three republics of what used to be Yugoslavia: Croatia, Slovenia and Macedonia.
+The first stamps from Croatia, which came into the United States philatelic market last fall and almost immediately disappeared, were simple designs featuring the red-and-white checkerboard of Croatia's coat of arms.
+There have since been a Christmas stamp and a stamp memorializing the Croats who died defending Vukovar from Serb-led troops.
+The first stamps from Slovenia include a set of four with the coat of arms of Slovenia: three mountain peaks with a river below and three stars above.
+Macedonia has also reportedly issued two stamps.
+It is very difficult to track these new stamps or those of the former Soviet Union. Few have made it into standard catalogues, and the provenance of some is murky.
+For example, some stamps from Lithuania, Latvia and Estonia that were printed in Western Europe turned up on different types of paper and some did not have perforations.
+This leads to the suspicion that unscrupulous printers were taking advantage of the rush of interest in these stamps last summer to create a market for these varieties, a suspicion that will linger until the republics list officially authorized stamps.
+Partly to allay this suspicion, the three Baltic republics have designated an official distributor for the United States and Canada: Kent Research Stamp Company, P.O. Box 86, Hewlett, N.Y. 11557.
+The assignment of distributors has settled the market considerably. For example, a set of three sheets of stamps from Moldova, formerly the Moldavian Republic within the Soviet Union, sold for $50 last November; last month the set was going for $30 at Interpex, the big stamp show in New York.
+Many dealers and collectors had assumed that a corollary of the flow of new stamps would be renewed interest in material from earlier days when the republics were independent, generally between World Wars I and II.
+This seems not to have happened. According to price trends reported in February by Linn's Stamp News, the leading philatelic weekly, prices of older stamps had declined by 10 percent to 20 percent since the previous survey, in August 1990.
+Two major dealers in the United States advertise supplies of stamps from all the new republics: Herrick Stamp Company, P.O. Box 219, Lawrence, N.Y. 11559, and Gerson's International Inc., 520 SW Yamhill Street, Suite 402, Portland, Ore. 97204.  U.S. Postal Past
+A book for the historian, a book for the expert: Linn's Stamp News and the Scott Publishing Company have added two items in their rapidly expanding lines.
+The one for the historian is ""United States Postal History Sampler,"" a collection of columns by Richard B. Graham that have appeared in Linn's. Many have been updated and expanded, and there are more and larger illustrations than appeared originally.
+Even readers with no interest in stamps will find something to enjoy in this book. Mr. Graham has organized 60 columns in chapters that include ""Delivering the Mails,"" ""Ship Letters and Ocean Mail,"" ""Armed Forces Mail"" and ""Illustrated Covers.""
+The book has an extensive index and (a nice touch) a list of the hundreds of Mr. Graham's columns and the dates they appeared in Linn's. Thus, readers can can track down more information.
+The book is available from Linn's Stamp News, P.O. Box 29, Sidney, Ohio 45365, for $14.95 (soft cover) or $30 (hard cover), including postage.
+The book for the expert is ""The Micarelli Identification Guide to U.S. Stamps."" This is very serious stuff, dealing with paper varieties, impressed grills (which absorbed canceling ink and prevented the re-use of stamps), perforations and design changes.
+The graphics are attractive and accessible. Thus, with the wealth of data and the readable presentation, the guide should appeal both to the collector who cares passionately about classic United States stamps and to the interested neophyte who may be persuaded that in stamps as in architecture, ""God lives in the details.""
+For noncollectors who think details are not important: A common 2-cent stamp showing Washington was issued in 1912. The basic stamp sells for 15 cents retail. But small details changed in later printings. A 1915 version retails for $110, a later 1915 type goes for $225 and a 1916 version for $450. Happy hunting.
+A small nagging doubt: the errata page, much of it concerning typographical errors, is bound into the book. If there was time to bind the errata page, it seems there should have been time to make the corrections directly on the pages concerned. This leads a reader to wonder about other errors that were indeed caught at the last minute but are not included on the errata list.
+The hard-cover book is $34.95 postpaid from Scott Publishing, P.O. Box 828, Sidney, Ohio 45365.  Streamling Stamp Sales
+To streamline the processing of first-day covers, the United States Postal Service plans to make large quantities of new stamps available through the 900 members of the American Stamp Dealers Association. The program begins in May.
+Local post offices do not stock all new stamps. Thus, collectors who wanted a cancellation marking the first day of issue would send an envelope to the Postal Service with a check or money order for the few stamps wanted, and the Postal Service would affix the stamps and return the canceled cover.
+To eliminate the extensive bookkeeping, dealers can now supply the stamps locally. For the name of nearby A.S.D.A. members, write to the association at 3 School Street, Glen Cove, N.Y. 11542, or call (800) 645-3826."
+True,False,False,False,True,False,False,False,False,False,True,True,False,True,False,False,False,False,False,True,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,True,False,False,True,True,False,False,False,True,True,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,True,True,False,False,True,False,True,True,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,True,False,True,True,True,False,False,False,False,False,True,True,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,"Coins
+Sometimes a king's got to do what a king's got to do. So thought Martin Coles Harman, ""king"" of Lundy Island and lord of its domain, all one and a half square miles of it.
+Lundy is mostly rock, 3 miles long and 12 miles off the northern coast of Devonshire, England. Nominally, it lies within Britain.
+For years, Lundy supported a tiny population that did some farming, collected puffin feathers and relied mainly on salvaging the hundreds of ships that foundered in its shoals. Modern navigational systems reduced that livelihood.
+The first owner of Lundy was the Rev. William Hudson Heaven, who bought it in 1835.
+Under his family's ownership, a church was built, a telegraph cable to the mainland was added, and two lighthouses were erected.
+Naturally, Lundy became known as the kingdom of Heaven, although it was not quite large enough for even one Elysian field.
+Mr. Heaven's family sold it in 1916 to Augustus Christie, who in turn sold it to Martin Harman in 1925.
+Mr. Harman had dropped out of school at age 16 and apprenticed himself to the Lazard Freres banking house in London.
+He rose quickly, and after he saw Lundy Island at the age of 18, he vowed to buy it one day.
+Mr. Harman seems to have been a benevolent ruler of his few subjects. He landscaped the island, bringing in shrubs, trees, birds and animals, and he apparently loved walking though his realm, which became more a nature preserve than a kingdom.
+All was well in the former kingdom of Heaven.
+In 1929, Mr. Harman decided that Lundy needed its own coins, so he ordered 100,000 coins from a private mint in Birmingham. The coins were in two denominations, the puffin and the half-puffin. Mr. Harman's bust was on the obverse, and on the reverse was the puffin, the sea bird whose rookeries dotted the island.
+Issuing coinage has always been the right of the sovereign. Mr. Harman felt that he was, in fact, sovereign of Lundy. But King George VI believed that if the sun never set on the British Empire, surely Lundy must fall within Britain's domain. The King's officers took Mr. Harman to court.
+Mr. Harman replied that while Lundy was surely ""a little kingdom within the British Empire,"" it was not a part of England itself. Mr. Harman believed Lundy should be treated like any other regal state that allied itself with Britain, like, for instance, India.
+He noted that Lundy enjoyed no services, no free education, no pensions, unemployment insurance or anything else from England. It paid no income taxes, tithes or land taxes to England, ""which we call the adjacent island,"" he said. He also noted that everyone on the island worked for him, except for two lighthouse keepers, but that the lights were on offshore rocks and the keepers' passage on the island was at his whim.
+Mr. Harman may have prejudiced his case by insisting that he was the legal sovereign of Lundy and had all sovereign rights, not just that of coinage. He lost. He paid the court costs and a $:5 fine. He appealed and lost again. The puffin was demonetized.
+Mr. Harman was later convicted of fraud and served a prison term for misappropriating funds from a holding company that owned several Japanese companies. He died in 1954 and forgave all his debtors. He left an estate of $:4,719. In 1969 the island was bought by a British millionaire and donated to the public.
+Today, the Lundy puffins are numismatic curiosities that appear at auction from time to time, reminding all that in the kingdom of Heaven -- no matter how small -- any man could be king."
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+LEAD: The coffin of Harold Macmillan, Earl of Stockton, being carried in Horsted Keynes, England. Mr. Macmillan, who helped Britain adapt to its changing role in the world, served as Conservative Party Prime Minister from 1957 to 1963. He died last week at the age of 92. (Agence France-Presse)
+The coffin of Harold Macmillan, Earl of Stockton, being carried in Horsted Keynes, England. Mr. Macmillan, who helped Britain adapt to its changing role in the world, served as Conservative Party Prime Minister from 1957 to 1963. He died last week at the age of 92. (Agence France-Presse)"
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+LEAD: About 50,000 people took part in a march to a United States air base near Madrid to protest U.S. bases and to demand that Spain pull out of NATO. The protest coincided with the arrival of Defense Secretary Caspar W. Weinberger, who is on a two-day official visit to Spain. (AP)
+About 50,000 people took part in a march to a United States air base near Madrid to protest U.S. bases and to demand that Spain pull out of NATO. The protest coincided with the arrival of Defense Secretary Caspar W. Weinberger, who is on a two-day official visit to Spain. (AP)"
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+LEAD: Immanuel Jakobovits, the Chief Rabbi of the United Hebrew Congregation and of the Commonwealth, in the robing room of the House of Lords with Lord Young. He swore an oath of loyalty under his new title, Lord Jakobovits, Baron of Regent's Park, to become the first rabbi to sit in the House of Lords.
+Immanuel Jakobovits, the Chief Rabbi of the United Hebrew Congregation and of the Commonwealth, in the robing room of the House of Lords with Lord Young. He swore an oath of loyalty under his new title, Lord Jakobovits, Baron of Regent's Park, to become the first rabbi to sit in the House of Lords. Page A7. (Reuters)"
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+LEAD: THE GOOD NEWS for workers in New England is that salaries and wages are rising rapidly; the bad news, for their employers, is that there are generally not enough able bodies to fill job openings.
+THE GOOD NEWS for workers in New England is that salaries and wages are rising rapidly; the bad news, for their employers, is that there are generally not enough able bodies to fill job openings.
+With unemployment rates in the region's six states dipping below 4 percent in recent months, the scramble for workers has increased the average paycheck by well over 5 percent in the last year, faster than any other region in the country. The minimum wage, $3.35 an hour, is a meaningless figure in New England, where even high school students can pick and choose among jobs paying $4 an hour and up.
+The job prospects of recent college graduates in the region are more favorable than they have been in a decade, according to the Federal Bureau of Labor Statistics. Students with technical backgrounds, such as engineering, computer science and accounting, continue to be in demand with the region's financial and high-technology industries. More recently, these industries have vigorously recruited liberal arts majors as well. Because these high-paying jobs are available, the supply of elementary school teachers, secretaries and particularly nurses has dwindled considerably, causing employers in those fields to increase salaries and benefits as job incentives.
+Because New England's population tends to be static, with few people aside from college students relocating to the area, economists do not foresee a reversal in the tight labor market. 'There's almost no occupation that is not in demand,' said Anthony J. Ferrara, regional commissioner of the Federal Bureau of Labor Statistics. 'Every one of the New England states is as well off as it has ever been, and I don't see any change unless there were something to come along to create a recession.'
+Those with the poorest job prospects tend to be unskilled laborers, squeezed out of work by the narrowing of the region's manufacturing sector. For these people, jobs in the rapidly growing service sector are available, though wages tend to be lower.
+The biggest state for job growth continues to be Massachusetts, which holds half the region's six million jobs. In Boston alone, 33,500 new jobs were added last year, and the rate of inflation, at 2.6 percent, was the lowest since 1967. Southern New Hampshire and southern Maine also have seen explosive job growth as their economies are increasingly linked to Boston's. In June, a Federal Labor Department survey of unemployment in 269 areas in the country showed that 8 of the 10 lowest rates were in New England.
+The trend toward near-full employment has also touched Rhode Island, where manufacturing jobs have traditionally been more of a staple than elsewhere in the region, and Vermont, which in July posted its lowest unemployment rate ever. Connecticut, which has the fifth-highest pay level in the country, also led the region with its average pay of $22,516 last year. The area partaking least fully in the economic boom continues to be northern Maine, where the faltering paper industry has impeded job growth."
+False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Life in a Soviet Prison Camp: a Former Inmate's View
+LEAD: Prisoners from the Ararat labor camp in Siberia at a logging site about 60 miles from the camp. The pole they hold is one of several used to form a ramp to move logs onto a truck. The picture was taken by a former political prisoner who spent eight months at the camp in 1982-83. Page A10. (Georgi N.
+Prisoners from the Ararat labor camp in Siberia at a logging site about 60 miles from the camp. The pole they hold is one of several used to form a ramp to move logs onto a truck. The picture was taken by a former political prisoner who spent eight months at the camp in 1982-83. Page A10. (Georgi N. MIkhailov)"
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+Eight New England organized crime figures were convicted today of racketeering in a case Federal prosecutors boasted would break the back of the Patriarca crime family, which the authorities say has controlled the loan-sharking and gambling in New England since the 1940's.
+The verdict came on the 15th day of jury deliberations.
+The eight defendants were among 21 alleged members and associates of the Patriarca crime family indicted in March 1990. A sweeping Federal indictment charged various defendants with gambling, loan-sharking and murder to support the crime family, which is based in Providence, R.I.
+Seven other defendants will be tried in Boston this fall, including Raymond J. Patriarca, who prosecutors maintain was the family's boss until he was deposed after the indictment last year. The other six defendants pleaded guilty in return for reduced sentences.
+Three of the defendants convicted today were found guilty in the 1989 slaying of William Grasso, the family's boss in Connecticut, and a fourth was found guilty of conspiracy in Mr. Grasso's death.
+The authorities say they believe Mr. Grasso was killed because leaders of the family's Boston faction suspected he and Mr. Patriarca were maneuvering to grab more control over the Boston rackets.
+The three-month trial provided a glimpse into the workings of the Mafia, including what was described as the first recording of a Mafia induction ceremony.
+All of the defendants were charged with violating Federal racketeering statutes by committing various crimes to support the family's illegal gambling and loan-sharking businesses. Convicted in Mr. Grasso's killing were Gaetano Milano, who fired the fatal shot, Frank Colantoni Jr. and Louis Pugliano. Frank Pugliano, was found guilty of conspiracy.
+Convicted on other charges were Nicholas Bianco of Providence; Salvatore D'Aquila of Middletown; Louis Failla, a reputed mob soldier from East Hartford, and Americo Petrillo, a reputed soldier from Old Saybrook. Murder Jarred Hierarchy
+The prosecution's case got a boost last summer when two other defendants, John F. Castagna and his son, Jack Johns, decided to testify in return for reduced sentences.
+Mr. Castagna and Mr. Johns testified that they participated in three failed attempts to kill Mr. Grasso, before he was killed on June 13, 1989.
+Federal authorities said the Grasso murder appeared to shake the crime family's hierarchy, weakening the status of Mr. Patriarca, who they said took over control of the crime family when his father, Raymond L. S. Patriarca Sr., died of a heart attack in 1984.
+The defense took only one week to present its case, and concentrated on rebutting the testimony of Mr. Castagna and Mr. Johns.
+In another organized-crime case a purported chief of the Mafia in western Massachusetts linked to at least one of the Hartford defendants was charged today in Springfield, Mass., in what prosecutors described as a failed assassination attempt.
+Adolfo Bruno, 45, of Agawam, Mass., was arraigned late this morning in Hampden County Superior Court before Judge William Simons on charges of conspiracy to murder. A not guilty plea was entered, and bail was set at $20,000.
+The action came after a county grand jury returned a secret indictment against Mr. Bruno on Wednesday. It says Mr. Bruno conspired with Mr. Castagna, John Nettis, Francesco Scibelli and others in the attempt to murder Joseph N. Maruca."
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+LEAD: Members of a gymnastic team from Tannusstein, near Wiesbaden, West Germany, performing on Rhonrads, or gyro wheels, near the Wollman rink in Central Park. The team, on a U.S. visit, marched last Saturday in the Steuben Day Parade. (NYT/Don Hogan Charles)
+Members of a gymnastic team from Tannusstein, near Wiesbaden, West Germany, performing on Rhonrads, or gyro wheels, near the Wollman rink in Central Park. The team, on a U.S. visit, marched last Saturday in the Steuben Day Parade. (NYT/Don Hogan Charles)"
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+LEAD: Bishop Christodoulos of Dimitrias addressing a crowd of priests and lay supporters yesterday outside Parliament in Athens. The crowd, estimated at 40,000, had gathered to protest a bill being debated in Parliament that would transfer 325,000 acres of church lands to the State. 'The church is a giant who has suddenly woken up and is demanding his rights,' the Bishop told the crowd.
+Bishop Christodoulos of Dimitrias addressing a crowd of priests and lay supporters yesterday outside Parliament in Athens. The crowd, estimated at 40,000, had gathered to protest a bill being debated in Parliament that would transfer 325,000 acres of church lands to the State. 'The church is a giant who has suddenly woken up and is demanding his rights,' the Bishop told the crowd. Prime Minister Andreas Papandreou said he would distribute the confiscated lands to poor farmers. (AP)"
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+An early cover bearing the world's first postage stamp, the British Penny Black, has been sold at auction for $2.4 million, almost double the highest previous price for a philatelic item.
+The Penny Black, sold March 23 in Lugano, Switzerland, by Harmers Auctions S.A., was canceled in London on May 2, 1851, the day after it went on sale, but four days before it became valid for postage.
+The envelope was itself an oddity: a letter-sheet known as a Mulready that was turned inside out. The Mulready also went on sale May 1, 1851, and was to become valid May 6.
+But the recipient, a resident of Morpeth, turned the Penny Black envelope right side in so the Mulready design showed properly and mailed it to another addressee in Morpeth on May 4. Thus the envelope bears two early postmarks.
+In addition, when the letter was mailed the second time, there apparently was an enclosure, because there is a penny postage due notation on the Mulready face of the envelope.
+Mulready letter-sheets, little known in the United States, are much collected in Britain. Early types bear an elaborate drawing of Brittania triumphant, and were lampooned when they were first produced by William Mulready, the designer.
+But, as James MacKay notes in his very useful book, ""Philatelic Terms Illustrated"" (Stanley Gibbons, London), Mulready ""inadvertently triggered off the mid-Victorian fashion for pictorial stationery.""
+The cover's seller was unidentified, and the buyer was described by his Swiss agent only as a Japanese executive.
+The last time the cover was sold, in November 1988, it went for about $125,000; its value has thus risen nineteenfold in two and a half years.
+The previous record price for a philatelic item, about $1.3 million, was paid in May 1990 for an 1855 Swedish stamp, a used 3-skilling-banco value that was printed in yellow rather than blue. The amount remains the highest ever paid for a single stamp, although some experts, including at least a few at the Swedish Postal Museum, have suggested the stamp is a forgery.
+Before the sale of the 3-skilling- banco, a stamp unknown to the general public, the highest price for a single stamp was $935,000, paid in 1980 for the one-cent Guiana magenta-black, a better-known item. The plate block of four ""Inverted Jennies,"" upside-down airmails that are the best known United States rarity, sold for $1.1 million in October 1989.
+Correction:  April 14, 1991, Sunday
+The Stamps column last Sunday misstated the year of issue of the first postage stamp, the Penny Black, and the one-penny Mulready lettersheet. It was 1840, not 1851."
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+New England's economy has a way of making its mark on the nation's politics.  In 1988, the region's high-tech boom and the confidence it spawned gave rise to  the Presidential candidacy of Gov. Michael S. Dukakis, who promised to carry the ""Massachusetts miracle"" to the nation.
+Four years later, a much-shaken region coping with a harrowing recession began -- by way of the New Hampshire primary -- the long electoral slide of President George Bush and helped shape the change-oriented candidacy of Bill Clinton.
+Now, on the brink of Tuesday's Yankee Primary, when voters in five New England states will weigh in on the Republican Party's muddled race for the nomination, the picture in New England is far more mixed: better than the early  1990's, to be sure, but hardly the boom years of the 1980's, analysts say.
+Senator Bob Dole's supporters, a virtual ""Who's Who"" of the Republican establishment here, are counting on New England to steady the Dole campaign and  send it into the New York primary on Thursday with a string of victories. A not-inconsiderable prize of 107 Republican delegates will be at stake in Tuesday's primaries in Maine, Rhode Island, Vermont, Connecticut and Massachusetts.
+But there is enough economic uncertainty swirling through this region to create openings for Mr. Dole's main challengers; Steve Forbes clearly sees one in Connecticut; Patrick J. Buchanan in Maine. Anxiety about unemployment is high, even though the regional jobless rate in the last year averaged 5.5 percent, about the same as the national rate, according to the Federal Reserve Bank of Boston.
+A recent survey by a Cambridge pollster, John Gorman, found that 41 percent of the employed respondents in Massachusetts thought that there was ""some chance"" of losing their jobs this year.
+On a frigid afternoon in downtown Lowell this week, Paul Burton had little doubt about the most important issue in this election. ""Jobs, unemployment -- we need to get that straightened out,"" said Mr. Burton, a 54-year-old former janitor who now draws Social Security disability benefits, and who was wearing two Buchanan buttons as he stopped for coffee at a doughnut shop. ""He cares for  people,"" Mr. Burton said.
+Still, there is a strong moderate tradition in New England's Republican Party -- embodied by Senator John H. Chafee of Rhode Island, Senator Olympia J. Snowe  of Maine and Gov. William F. Weld of Massachusetts -- and most of its leading lights are supporting Mr. Dole..
+""We keep hearing about the conservative bent of the Republican Party and that's wonderful,"" said John Holmes, chairman of the Rhode Island Republican Party and a Dole supporter. ""But we're up here, we're alive and well, we're just as Republican as the ultraconservatives in the party and we have beliefs and principles just like they do.""
+Governor Weld, who originally supported Gov. Pete Wilson of California for the nomination and is now backing Mr. Dole, is a sort of poster boy for Republican centrists around the country. At a news conference this week, announcing the expansion of a program to help people save for college tuitions,  Governor Weld offered a counterpoint to Mr. Buchanan's brand of tariff-oriented  economic nationalism.
+""A lot of people have good ideas what to do about economic anxiety,"" said the Governor, who has been bitingly critical of Mr. Buchanan in recent days. ""I think education and training should be the number one response.""
+The six-state New England region, including New Hampshire, accounted for 13.2 million people in the last census. For all the postcard imagery, three-fourths of New Englanders live in urban areas. The regional unemployment rate in January was 5.2 percent, compared with 5.8 percent nationally.
+But those figures belie a sharp change in the nature of jobs: Manufacturing employment has continued to fall in the region despite the economic recovery, Lynn Brown of the Federal Reserve Bank of Boston, said in a recent article for the New England Council, a business group. Cuts by military manufacturers and change in the computer industry have ""taken a severe toll,"" she said. This makes for an unusual recovery and a jittery people; as Mr. Gorman, the pollster, put it, ""Normal here just isn't as good as it used to be.""
+At a rally in Waltham on Friday night, Mr. Dole tried to address those fears. ""Certainly we're concerned about people who can't find jobs,"" he declared. Surrounded by people like Senator Chafee and Governor Weld, Mr. Dole offered a message that seemed tailor-made for the region, presenting himself a man ready ""to get things done"" for people, ""regardless of party,"" eager to insure a stable economic future by balancing the budget and cutting taxes.
+Massachusetts is the biggest prize in the region, with 37 delegates at stake. Polls for The Boston Globe and The Boston Herald both showed Mr. Dole with a comfortable lead at week's end; The Globe's, with a margin of error of five percentage points, showed Mr. Dole with 33 percent, Mr. Forbes with 15 percent,  Mr. Buchanan with 14 percent and former Gov. Lamar Alexander of Tennessee with 11 percent.
+But there is ""a huge wild card"" in Massachusetts, said Joe Malone, state treasurer and state chairman for the Dole campaign: 47 percent of registered voters are independent, and can vote in the Republican primary, compared with 13 percent registered as Republican.
+Connecticut is the second biggest prize, with 27 delegates. There, as throughout the region, Mr. Dole has formidable political support from Gov. John  G. Rowland on down, but the Forbes camp clearly hopes to compete in this state.
+""Taxes matter, which is to the Steve Forbes advantage,"" said State Senator Kevin Rennie, the only one of the 19 Republican State Senators who did not endorse Mr. Dole.
+The Buchanan forces, meanwhile, are hoping to be felt throughout the region,  drawing on such voters as social conservatives, opponents of abortion, former supporters of Ross Perot. Some analysts see Maine as a particular target of opportunity for Mr. Buchanan, since residents there gave 30 percent of the vote  to Mr. Perot in 1992.
+But many say Mr. Buchanan peaked in the region after New Hampshire, and this  assessment was supported in a regional survey by the Roper Center for Public Opinion Research.
+Mr. Alexander has made several forays into the region in recent days, standing in the shadow of Faneuil Hall in Boston the other day to urge another Tea Party against Mr. Buchanan's proposal for tariffs. Mr. Alexander has also been advertising across the region; the other candidates are largely relying on  the memory of the regional advertising in the New Hampshire primary to carry them through.
+Senator Richard G. Lugar of Indiana has also been encamped in the region in recent days, spending most of his time in Vermont and Maine.
+In the end, though, the level of activity in the region by the candidates has been something of a letdown to some of the Yankee Primary's architects. Garrison Nelson, a political scientist at the University of Vermont, offered what has become a universal lament in this frenetic stage of the campaign: ""There's so much else out there, we've been crowded off the screen.""
+POLITICS: NEW ENGLAND"
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+For nearly 3,000 years, mine owners have seen coins as a wonderful way to sell bullion. The Lydians under Croesus did it. The Comstock Lode owners in Nevada did it. And so did William Wood.
+The Lydians struck their electrum alloy -- silver and gold -- into staters that became the very first coins. Comstock silver went into millions of United States ""cartwheel"" silver dollars. William Wood turned to lesser metals.
+Wood owned copper and tin mines in England. The colonies in America were short of any type of coinage, and Wood was long on copper and tin. Supplying coins to the colonies would solve both problems.
+In 1722 he approached King George I, seeking a patent to mint some 100 tons -- $:56,000 worth -- of twopence, pence and halfpence. The king agreed and Wood would have begun, except for one Ehrengarde Melusina, Duchess of Munster and Kendal. The Duchess's intimate relationship with King George allowed her to get her hands on the patent as soon as it was signed. Wood was then forced to pay her $:10,000 to get it back and begin minting coins.
+Wood's problems were only beginning. He used a new alloy of 75 percent copper, 24.7 percent zinc and 0.3 percent silver, called Bath metal, to mint his coins. Unfortunately, the coins looked like pure brass when they were first minted and, with use, took on the distinct appearance of cheap counterfeits.
+The coins were also struck using the cheapest of techniques. Normally, coins are imprinted and cut from a rolled strip of alloy. Wood used cast-metal blanks that had to be heated to make them soft enough to accept the dies. The heat discolored the coins and created bubbles and rough areas that were filed away by hand.
+The design itself was an exercise in flattery bordering on the obsequious. King George's bust appeared on the obverse and the Tudor rose on the reverse. The rose, neither white nor red, symbolically portrayed him as the successor in spirit to both the Plantagenets and the Tudors. But King George, who was born in Germany, could not stand England, thinking it a backwater to his Continental holdings. He could not speak English and would not learn. Wood's thinking that George would care about any roses was politically naive.
+Nevertheless, the coins went off to the colonies.
+And then new problems cropped up. Most of the Northeast was first angered and then confused by Wood's coins. No one in England had bothered to consult with colonial authorities about the new currency, thus alienating the colonies' leaders. But more importantly, the coins bore no relationship in size to other English coins. Wood's twopence did not look like anything else, and his penny was similar to a halfpenny.
+New Yorkers refused to accept them in any transaction and Massachusetts went so far as to print substitute parchment scrip.
+The coins, in short, were a flop.
+In 1724, William Wood gave up. He traded the patent for a royal pension. It was a good decision: Wood received more money and less aggravation from the pension than he had ever had with the patent. He died six years later.
+Today the coins are known as the Rosa Americana coins and bring a hefty price at most auctions. One will be sold at the Stack's Coin Company auction on Oct. 15 and 16 at the Omni Park Central Hotel, Seventh Avenue and West 56th in Manhattan at 7 P.M. The coin, and others, can be viewed Monday through Friday, 10:30 A.M. to 4:30 P.M., at Stack's, 123 West 57th Street."
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+Correction:  December 14, 2002, Saturday  A picture yesterday with a caption about a meeting of Secretary of Defense Donald H. Rumsfeld and Gen. Tommy Franks with American and British troops in Qatar was published in error. It showed Iraqi police cadets checking into a hotel in Baghdad for a weekend break."
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+LEAD: Lech Walesa, the Solidarity leader, giving a victory sign after a mass yesterday in Czestochowa that climaxed a workers' pilgrimage. During mass, Bishop Damian Zimon of Katowice, made an impassioned plea for the establishment of free and independent trade unions. Page A13. (AP)
+Lech Walesa, the Solidarity leader, giving a victory sign after a mass yesterday in Czestochowa that climaxed a workers' pilgrimage. During mass, Bishop Damian Zimon of Katowice, made an impassioned plea for the establishment of free and independent trade unions. Page A13. (AP)"
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+WHEN Communism collapsed in Poland, there were high expectations for a boom in small business. The Poles were known as canny traders, and anyone who visited dreary Warsaw in 1990 could see a thousand opportunities in a consumer- and service-starved populace. But few imagined the explosion in small-business start-ups: if England was known in the 19th century as a country of small shopkeepers, then Poland might well go down as a mecca for small businesses at the end of the 20th.
+Official statistics show that about two million small businesses have been registered in the last eight years, by far the largest number for any nation that was once behind the Iron Curtain. They range from laundromats to retail stores, from car-part manufacturers to language schools, from headhunters to public-relation firms.
+It seems that virtually anything that the elephantine state-run companies could not and would not provide under the Communists, Polish business people -- and foreign friends -- have provided since.
+Take maps. The Communists were supersecretive, so easy-to-read maps of big cities were nonexistent. With the advent of a free-market economy, maps became important: delivery trucks needed them, developers had to know urban layouts and ordinary citizens were driving their new cars into parts of the country they had never ventured before.
+Rafal Dylak, 33, a graduate in history with little business experience, saw the gap. With three partners, he set up Demart, the first company in Poland to use computers to produce cartographic materials. Mr. Dylak loves to point out that he currently produces 15 maps and atlases, all of them profitable. His competition, the privatized version of the state monopoly that is now listed on the Warsaw Stock Exchange, produces 200 maps, but only 80 of those turn a profit, Mr. Dylak said.
+Being successful in a small business, many experts say, is often a state of mind as much as a matter of economic climate, Governmental support and financial acumen. The rapid expansion of small businesses in Poland -- even compared with other Central European nations like the Czech Republic and Hungary, where the climate for entrepreneurs is not as warm, but there is activity  -- has much to do with Polish character, argued Rosalind Copisarow, the chief executive officer of Fundusz Mikro, an American Government-sponsored program that established a loan facility for small businesses in Poland.
+'Entrepreneurship means that you have a desire not to work for someone else,' said Ms. Copisarow, who established J. P. Morgan's business in Poland before managing the more unconventional Fundusz Mikro. 'The fact that the Poles were dominated by one ideology or another for more than a century and tried to fight back means the Poles are very high on not wanting to work for someone else.'
+Ms. Copisarow, who is British, argues that the Solidarity movement in the 80's, when the Poles used trade unions to fight oppression, signaled the existence of spirited entrepreneurs ready to take risks once the Communist system imploded.
+Of course, Poland's new economic climate has been an indispensable ingredient for small-business success, starting with the bold reforms of 1990, when state industries were allowed to go bankrupt and price controls were removed. In the last several years, Poland's 5 to 7 percent annual growth rate has been far healthier than that of Western Europe's. And rapid growth, combined with fairly low wages, Ms. Copisarow said, has been a winning combination missing for many years in Western Europe.
+There is one other boost for small businesses that, Ms. Copisarow noted, sets Poland apart from Western Europe. The Polish Government cannot afford to pay the generous welfare benefits that prevail in Britain and Germany and that often end up dampening entrepreneurial spirit.
+Banks in Poland have not been particularly receptive to start-ups, and many new entrepreneurs have been forced to borrow from relatives or to use their own savings. Fundusz Mikro's average starting loan is about $1,500, with 29 percent annual interest if the venture has four to seven partners. The top interest is an annual 37 percent if the borrower is an individual. But even with these steep rates, few of the businesses that the fund has lent money to have defaulted. In a sign of small-business success, the fund could become profitable in the spring.
+Not all small-business ventures in Poland are start-ups. A few are revamped models from the Communist era. In these cases, owners have  adapted to more efficient methods.
+The Blikle cafe on Nowy Swiat, Warsaw's most elegant street, for example, has existed since before World War II. The scion of the family, Andrzej Blikle, has refurbished it with halogen lighting and wood paneling and now sells superior cakes, coffee and juices. He has worked at motivating staff and grafting Western management techniques onto Polish ways. Mr. Blikle wanted to improve the baking plant that supplies his cafe. But how could he introduce the Western concept of quality control to workers who were unaccustomed to sharing information?
+Gingerly, he started weekly meetings at the plant where bakers and salesclerks were encouraged to thrash out suggestions for improving products. Soon a major problem was solved: preventing the popular poppy-seed cakes from crumbling. Bakers found that one shift of workers was overgrinding the poppy seeds. Standardized grinding was set up, the cakes stopped falling apart and the 70 production workers are now all members of 'quality circles,' where everything from the flavor of a cake to the shape of the oven-ready frozen rolls is discussed.
+Another reason for Poland's entrepreneurial boom has been an influx of Polish expatriates who saw opportunity from afar.
+Tamar Adler, 30, is a second-generation Israeli whose grandparents fled Poland. After graduating with an M.B.A. from Tel Aviv University, Ms. Adler sensed a need in Poland for archival services, which were unknown as a business under Communism. Polish laws are very strict about how long companies must keep employment, sales and tax records. (Personnel records must be stored for 50 years, and invoices kept on paper, not disks.)
+With a mixture of American, Israeli and Polish financial backing, she opened Business Archive two years ago, a company that stores and files documents for accounting firms, legal practices and Government agencies in a rented space near the Warsaw airport. Business Archive now has 30 employees and an  expanding market.
+'In the United States or Israel you have to find a very, very innovative idea for a new business to succeed,' Ms. Adler said. 'Here, you don't have to invent the wheel again. You can come with an idea that has been used before, and you're coming into a huge market with 40 million people.'"
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+LEAD: Pope John Paul II with Gen. Wojciech Jaruzelski, the Polish leader, on arrival in Warsaw. The Pope called on the leadership of his native land to follow a policy that insures respect for human rights and human dignity and allows wide citizen participation in public life. Page A3. (AP)
+Pope John Paul II with Gen. Wojciech Jaruzelski, the Polish leader, on arrival in Warsaw. The Pope called on the leadership of his native land to follow a policy that insures respect for human rights and human dignity and allows wide citizen participation in public life. Page A3. (AP)"
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+Europe enters the new year and the new millennium on a mission of staggering scale: an expansion of the European Union by 13 countries and some 170 million people.
+In the decade since Communism collapsed, the European Union has made huge progress toward becoming a truly single market. Almost all trade barriers among its 15 member nations have been abolished. Citizens of any member country can live and work in any other. At the start of this  year, 11 of the 15 countries adopted the euro as a common currency.
+But integration has not been easy. France and Germany feuded endlessly during negotiations over the euro, which still has not been adopted by Britain, Sweden, Denmark and Greece. The new currency slumped relentlessly vis-a-vis the United States dollar, declining from $1.18 after its introduction on Jan. 4 to just above parity with the dollar by mid-December.
+As a result of the transparency of the euro, as well as the elimination of the trade barriers, price competition within Europe has become brutal. And hostile corporate takeovers, until recently almost unthinkable outside Britain, have become common in France, Italy and Germany.
+The path ahead could be even more grueling now as the union juggles issues of expanding membership.
+Six countries -- Poland, Hungary, the Czech Republic, Cyprus, Slovenia and Estonia -- are already in membership negotiations with the European Union, and some could be admitted as early as 2003.
+Six other wildly diverse countries are about to start negotiations, a process likely to last at least a decade. These countries are: the central European nations of Slovakia, Bulgaria and Romania; the tiny Baltic nations of Latvia and Lithuania, and the island nation of Malta.
+But the biggest breakthrough was Turkey, which the European Union invited earlier this month to become a candidate for membership. Prime Minister Bulent Ecevit, while acknowledging that difficulties lay ahead, said, 'The acceptance of our candidacy on equal terms is a great success for Turkey.'
+The country has been a part of the NATO military alliance for years but was repeatedly shunned by the European Union because of its territorial feud with Greece and its human rights record.
+Turkey, with 63 million people, still faces a long path. Membership negotiations will not begin until it resolves its disputes with Greece, and to become a member, it must also abandon the death penalty, even as a Turkish court is seeking to impose it on the Kurdish rebel leader, Abdullah Ocalan.
+It is hard to overstate the magnitude of the project that would expand the union beyond its current members; besides Britain, Denmark, France, Germany, Greece and Sweden, they are Austria, Belgium, Finland, Ireland, Italy, Luxembourg, the Netherlands, Portugal and Spain. If all 13 countries under discussion become members, the European Union would constitute the world's biggest and most diversified free trade zone.
+Europe's common market would encompass nearly 500 million people and extend to the borders of Russia. It would unite Europe's wealthiest nations with some of its poorest. It would bring jolting new competition to farmers in both Western and Central Europe.
+And even if some nations do not make the cut -- and it would be years before any adopted the euro -- the idea of 'Europe' is likely to be stretched in strange ways.
+Poland, with 40 million people and a long history with the West, is likely to be one of the first countries to become a new member.
+Other front-runners include Estonia, a tiny Baltic nation that was part of the Soviet Union, and Slovenia, a prosperous Adriatic enclave that managed to break away from Yugoslavia.
+In principle, the deciding issues are whether a country has adopted the institutions and laws to support both democracy and an open market economy.
+In practice, the aspiring members will have to adopt a panoply of detailed laws governing trade, social issues and democratic institutions. That is often easier for smaller countries, which explains why a comparatively obscure nation like Slovenia, with two million people, may well be among the first new members.
+The European Union's requirements, broken down into 32 'chapters,' include laws protecting investors and creditors; environmental regulations; timetables for closing Soviet-era nuclear plants, and the reduction of agricultural subsidies. To be eligible many countries must still establish the courts and regulatory agencies needed to enforce the rule of law in a credible fashion.
+There is a clear financial impact from all this. Countries on the fast track generally pay lower interest rates when they sell bonds on the international market because foreign investors perceive those countries as safer. Indeed, bond investors are already speculating on which countries will be allowed to adopt the euro as their currency.
+The lure of Europe's single market has also sped the transition of more statist and Stalinist regimes toward market economics. Slovakia, Romania and Bulgaria have all elected Western-style politicians in the last several years, and all have pushed heavily to impose the changes required for admission to the union.
+A report by the European Commission in October concluded that Bulgaria had made big strides toward opening its markets, including those in telecommunications and media, as well as in setting up an effective civil service and court system. Romania and Slovakia, pariahs just three years ago, are now winning praise as well.
+To be sure, the acceleration of market-oriented changes has increased political tension. Poland has been one of Central Europe's major success stories. By sticking firmly to a course of privatization and expanded trade with Western Europe, Poland was barely grazed by last year's economic collapse in Russia.
+Yet anxiety about the European Union is rising sharply, mainly among Poland's farmers, coal miners and shipyard workers who stand to lose from reduced government subsidies and heightened competition. Recent surveys indicate that support for membership in the European Union has slipped to about 55 percent of the Polish population today from 80 percent in 1990.
+Many Poles also fear that Germans will buy their land as soon as they get the chance. In negotiations with the European Union earlier this year, the Polish Government demanded that foreign land purchases be restricted for 18 years after the nation joined the union.
+The anxiety flows in both directions. Germany, which borders Poland and the Czech Republic and has high unemployment, is pushing for long 'transition periods' before Central European workers receive full rights to work in the West.
+In a departure from its past approach, the European Union is now pursuing 'flexible' targets for admitting nations, allowing countries to join when they are ready, rather than in big waves.
+Most experts believe that expansion is all but inevitable. More than two-thirds of exports from Poland and Hungary already go to the European Union, as do more than half the exports from most other formerly Communist 'candidate' countries.
+And although the embrace of market economics is generally weaker the farther east one travels, all the candidate countries seem to be shifting toward such policies.
+'Both sides profit from enlargement,' said Andreas Polkowski, an economic analyst at the Hamburg Institute for Economic Research. 'Under the pressure of globalization, these countries have to change regardless of whether they enter the European Union. Those that want to become members have merely accelerated the process.'
+INTERNATIONAL"
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+LEAD: Spanish riot policemen driving back demonstrators yesterday. At least 24 people, including 7 police officers, were injured in clashes between the police and right-wing protesters. Clashes came at end of four-day boycott of classes and followed march by thousands of students calling for cuts in tuition, more spending on education and an end to stringent university entrance exams.
+Spanish riot policemen driving back demonstrators yesterday. At least 24 people, including 7 police officers, were injured in clashes between the police and right-wing protesters. Clashes came at end of four-day boycott of classes and followed march by thousands of students calling for cuts in tuition, more spending on education and an end to stringent university entrance exams. (Reuters)"
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+LEAD: Prime Minister Zbigniew Messner addressing the Polish parliament yesterday. He announced that the steep price rises for basic foodstuffs planned for next year will instead be implemented over three years. At rear, in dark glasses, was President Wojciech Jaruzelski. Page 19. (AP)
+Prime Minister Zbigniew Messner addressing the Polish parliament yesterday. He announced that the steep price rises for basic foodstuffs planned for next year will instead be implemented over three years. At rear, in dark glasses, was President Wojciech Jaruzelski. Page 19. (AP)"
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+Western diplomats said today that Russia asked last month for an increase in the number of tanks and heavy weapons Moscow is allowed to station in the Caucasus, where civil wars are raging in three newly independent countries, under a conventional arms reduction treaty signed three years ago.
+Germany and other signers of the Treaty on Conventional Armed Forces in Europe, signed in Paris at the end of 1990, rejected the Russian request at a meeting in Vienna last month, saying that any change that would require a renegotiation of the treaty was unacceptable, according to the diplomats.
+""It's not a smart move, because it gives the impression that the Russian military is taking over,"" a NATO diplomat said. ""But the Russians have not threatened to pull out of the treaty if they didn't get the limit raised.""
+Several diplomats emphasized that the request for a change preceded the bloody battles in Moscow earlier this week, when Russian military called in by President Boris N. Yeltsin crushed his opponents in the Parliament.
+""The treaty does not come into full effect until two years from now, so no one is even saying the Russians can't move forces closer to the Caucasus now if they want,"" one official said.
+President Yeltsin made the request in a letter sent to the United States, France, Britain and Germany last month, according to diplomats.
+In a separate letter sent at the same time, Mr. Yeltsin also retreated from an earlier public statement that Russia would not oppose the membership of Poland, Hungary and the Czech Republic in NATO.
+The treaty on conventional forces sets an overall limit on tanks, armored vehicles, artillery, and combat aircraft on the NATO allies and the former Warsaw Pact countries. Both sides have to destroy enough equipment to come down to those levels, which limit either side to 20,000 tanks, by 1995.
+Most of the equipment has been withdrawn from central Europe. Separate treaty sub-limits apply to areas in the Caucasus region and the area around St. Petersburg, near the Baltic states, to make sure the withdrawn equipment is not simply re-deployed there.
+Russian withdrawal from the treaty would imperil the diplomatic underpinning of the huge arms and troop reductions that continue to be made in Europe by Russia, the United States, and other countries. ""The mere threat to withdraw would be a serious move that could have unforeseeable consequences,"" one German expert said.
+Some Western experts believe that the Russian request for higher limits in the Caucasus region is one more indication that the Russians are more involved in the fighting there than has been admitted.
+For weeks, the Russian Foreign Minister, Andrei Kozyrev, had made clear that the Russian leaders , like the Soviet leaders and the Czars before them, regarded the area as part of Russia's strategic sphere of interest.
+Russian forces have supplied up-to-date tanks, other military equipment and ""volunteers"" to Abkhazian rebels who drove Georgian Government forces loyal to President Eduard A. Shevardnadze from the Black Sea port of Sukhumi last week, according to Western military experts and diplomats. Russian military backing has also given Armenia an edge in its fight with Azerbaijan over the ethnic enclave of Nagorno-Karabakh, the diplomats said.
+But the arms treaty imposes an overall limit of 220 tanks on the whole Caucasus region. Russian forces still stationed in Georgia have 211 modern T-72 tanks, one expert said, while the Georgians have no more than 20 of the older T-55 models that are operable.
+""The sub-limits are crucial, because with 20 state-of-the-art tanks you could reoccupy all of Georgia,"" one German military authority said. ""The Russians are clearly maneuvering to press their interests in the Caucasus region.""
+German diplomats said Mr. Yeltsin's requests had been referred to the treaty's permanent joint consultative group in Vienna.
+""We've been telling them it's two years away, and we can't change the treaty,"" another Western diplomat said. ""But it makes you wonder what's going on in Moscow."""
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+Workmen in the Bosnian capital assembled an altar yesterday at a war-damaged soccer stadium for Pope John Paul II to use when he says Mass next Sunday during an overnight visit. The Pope first planned to visit Sarajevo in September 1994, but was forced to cancel the trip because the city was under siege. (Agence France-Presse)"
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+BARREN and black, the ashen hills of nuclear waste stand like treeless offspring of the wooded mountains that cradle the towns and villages of this German frontier region.
+They were once shrouded with the secrecy of the Wismut uranium mines, begun in the first fever of Stalin's drive for atomic weaponry and for years the largest supplier of uranium for Moscow's nuclear effort.
+Five months into German unification, this vast troubled landscape affords a sobering dose of the realities united Germany is up against in cleaning up eastern Germany's environment.
+The uranium mines that produced these grim hillocks and lakes of polluted sludge are being shut down. The last operating mines, near the hamlet of Schlema, were closed last month.
+The veil of secrecy is lifting, as reports appear about the history of the mines and the diseases of those who toiled there, subjects that were untouchable not long ago.
+Wismut, the company that ran the mines, is designing a $3.6 billion cleanup program, which the Bonn Government will finance, to fill mine shafts and clean up the mountains and lakes of radioactive waste.  Cosmetic Aspect Cited
+The Federal Government has sent teams of physicians and other experts to study disease rates and map the polluted areas. That is because the region has another problem that predates Wismut. Since the 15th century, miners extracted rich lodes of silver from the region's uranium-rich soils. Now, unused silver mines and heaps of uranium-laced waste are emitting varying amounts of radon, a gas that can damage human health at certain levels.
+Echoing Government medical experts, some local officials contend the problem of the waste piles is mainly cosmetic, not toxic. Mayor Konrad Barth of Schlema cites Government studies that found few points in towns like Aue where radon emissions exceeded acceptable levels. They acknowledge, however, that potentially greater dangers loom from the presence in the waste piles of other toxic materials, like arsenic.
+In Schneeberg, a former silver- mining town, roughly 5 percent of the houses were found to have extraordinarily high radon levels. But Government medical experts who examined a father and four children in a house where radon emissions measured 120 times the maximum acceptable level said they found no abnormalities.
+Still, the experts concede that little is known of the long-term effects of low-level radiation like that spread by the heaps and lakes of waste material, and they urge that the health of local people be carefully monitored.
+Thus far, the citizens of towns like Aue, population 30,000, say all the publicity about their environmental woes has done only damage, frightening away potential investors.
+Worst of all, the mines themselves, like most of the musclebound East German industrial economy, are an albatross. The local ore is virtually depleted, the technology outmoded and costly and Soviet orders for uranium gone. Where 40,000 people toiled as recently as last year, more than half are now unemployed or working shorter hours. Building It Big
+Wismut, was flung up by the Soviets after 1945, a crash project to break America's nuclear monopoly. Until 1954, Soviet officials ran it alone under a shroud of military secrecy, hauling the uranium to the Soviet Union without paying the Germans, as part of reparations payments imposed on East Germany for World War II.
+The site, where the northern slope of the Erzgebirge climbs toward Czechoslovakia, was chosen for its history as a source of radioactive ores. The Czech side of the range produced the uranium salts that led the French physicist, Henri Becquerel, to the discovery of radioactivity in 1896.
+They built the project big, in the prevailing spirit of Soviet gigantism. With little technical finesse, tens of thousands of workers were assembled, often digging with picks and shovels. From 1946 to the present, officials say, the mines delivered more than 200,000 metric tons of yellow cake, or uranium oxide, to Soviet military and civilian nuclear programs, extracted at great cost from pitchblende, a brownish-black ore that is the principal mineral source of uranium.
+Now Bonn is seeking agreement to acquire the 50 percent Soviet stake in Wismut. In exchange, Moscow will be released from the liability of cleaning up the environmental mess.
+Michael Beleites, a church-affiliated researcher, recalled the primitive conditions of Wismut's birth in a samizdat study he published in 1988, before the fall of Communism here, titled, ""Pitchblende: East German Uranium Mining and its Consequences.""
+""The number of uranium miners rose faster than quarters could be built,"" Mr. Beleites said. ""Thus in Johanngeorgenstadt, cots were set up in apartment hallways to afford at least sufficient places to sleep. In such a situation, labor hygienic conditions played as good as no role. They drilled dry, so that the miners constantly breathed in radioactive dust."" State Within a State
+But among the region's people, the consoling memory of a time when things were much worse is increasingly less vivid.
+Wismut, transformed into a Soviet-East German joint venture in 1954, and quickly developed into a state within a state, with its own police, communications and transport systems, is struggling for survival. The last of about 400 to 500 Soviet engineers and managers departed in December, and under a scheme drawn up with the help of Western consultants, the huge concern now hopes to market its skills in mining, environmental cleanup and construction, to create jobs for some of its remaining 29,000 employees.
+But the harshest legacy is the environmental mess.
+One problem is the mine shafts, a vast warren of tunnels and cavities that stretch for thousands of miles under the mountainous landscape, some piercing depths of 6,000 feet. ""We must remove grease and oils and some toxic materials, and take out steel supports, rail tracks and old air-conditioning equipment,"" said Christoph Rudolph, who runs the mining operations in Aue. The empty cavities, like giant rotten teeth, will then be pumped full of cement fillings, he said.
+More troubling are huge mountains of waste and lakes of slush that were waste products of arduous mining and extraction processes.  Not a Place for Cows
+Ores from the Erzgebirge were never rich, Mr. Rudolph explained, yielding about nine pounds of uranium for every ton of ore mined, or about four-tenths of 1 percent, compared with 12 percent for some rich Canadian and Australian ores.
+The waste was dumped in huge heaps that now dot the landscape, and now day by day dilapidated Soviet-built dump trucks haul the material to new sites to flatten the hills, which will then be covered with topsoil and reforested. But the wastes, which contain residues of uranium and radium, emit radon gas. ""Not a place for grazing cows or building homes,"" Mr. Rudolph said.
+Other pollutants are equally alarming. Separating the uranium from the waste involved scrubbings with sulfuric acid and caustic solutions that were discarded and collected in vast lake-like basins, where the waters were gradually fed into local rivers and streams. Wismut officials acknowledge that such waters are heavily laced with toxic substances like arsenic, uranium and radium, and environmental activists regard local rivers like the Zwickauer Mulde and Weisse Elster as radioactively polluted. Officials say they focus on protecting the water table and gradually ridding the landscape of these grim ponds.
+In his study, Mr. Beleites chronicled reports by miners and their families of frequent cases of lung and testicular cancer, leukemia and such conditions as hair loss, temporary impotency among men and fatigue. Local miners called Oberrothenbach, on the shore of a waste basin, ""the tired village.""
+Horst Richter, a geologist who became Wismut's chief executive officer last year, conceded that in the early years medical care was deficient. Later, however, the company organized health care services exclusively for its workers that were far above the level enjoyed by most East Germans.
+Mr. Richter said that about 5,400 cases of lung cancer were recorded in secret medical data the company kept over the years on some 450,000 employees, roughly the same as the national average. Evaluating Evaluations
+More widespread, he acknowledged, were such conditions as silicosis, a lung ailment marked by shortness of breath common among miners, and rheumatic ailments of the joints and back that resulted from measures taken to reduce the threat of contamination by radioactive dust. For one, mining surfaces were constantly wet. Moreover, air-conditioning of the mines meant workers stood continuously in cold air streams. Only now, however, are company medical data being opened for research.
+""We still don't have independent evaluation,"" said the Rev. Andreas Krusche, the pastor of St. Wolfgang's Church in Schneeberg. ""Wismut was autarkic. They themselves evaluated the results of their own evaluations.""
+Now passivity, bewilderment and pessimism abound. But some say the greatest potential for the region's redevelopment may lie in its very radioactivity.
+Before World War II, Schlema was Europe's most important radon spa, with a radiological institute and more than 300 boarding houses catering to thousands of guests who came each year for radioactive treatment.
+In 1946, after the Russians took over, the spa buildings were torn down and the radiology institute's valuable library hauled to the Soviet Union. Now Mr. Barth has revival plans. A scholarly conference is planned for September to begin the project.
+""We have to perform a giant somersault,"" Mr. Barth said, ""out of a valley of death into a valley of hope."""
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+LEAD: Robert Barker, left, head of the American delegation in Geneva for negotiations on nuclear testing, greeting Igor Palenykh, his Soviet counterpart, during meeting at the U.S. Mission. The session yesterday marked the first meeting of both full delegations.
+Robert Barker, left, head of the American delegation in Geneva for negotiations on nuclear testing, greeting Igor Palenykh, his Soviet counterpart, during meeting at the U.S. Mission. The session yesterday marked the first meeting of both full delegations.
+Both sides stressed the need to improve monitoring techniques for two unratified treaties of the 1970's that limit the power of nuclear tests. (AP)"
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+LEAD: The West Point Glee Club performing during the unveiling last night of a copy of the Statue of Liberty's flame at Port Liberte in Jersey City. The flame is to be a gift to France. Page B10. (The New York Times/Dith Pran)
+The West Point Glee Club performing during the unveiling last night of a copy of the Statue of Liberty's flame at Port Liberte in Jersey City. The flame is to be a gift to France. Page B10. (The New York Times/Dith Pran)"
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+LEAD: Klaus Barbie being escorted from court back to his cell yesterday in Lyons, France. The former Nazi Gestapo officer, asserting that he was a 'hostage, not a prisoner,' said he would no longer take part in his trial for crimes against humanity. The move would prevent his accusers from confronting him face to face.
+Klaus Barbie being escorted from court back to his cell yesterday in Lyons, France. The former Nazi Gestapo officer, asserting that he was a 'hostage, not a prisoner,' said he would no longer take part in his trial for crimes against humanity. The move would prevent his accusers from confronting him face to face. Page A8. (AP)"
+True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,True,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"West Germany Calls for Adherence to ABM Treaty
+LEAD: Foreign Minister Hans-Dietrich Genscher, center, with Paul H. Nitze, left, arms adviser to Secretary of State George P. Shultz, and Assistant Secretary of Defense Richard N. Perle before their talks yesterday in Bonn. Mr. Genscher told the Americans that West Germany believed the United States and the Soviet Union should adhere to a strict interpretation of the 1972 Antiballistic Missile Treaty.
+Foreign Minister Hans-Dietrich Genscher, center, with Paul H. Nitze, left, arms adviser to Secretary of State George P. Shultz, and Assistant Secretary of Defense Richard N. Perle before their talks yesterday in Bonn. Mr. Genscher told the Americans that West Germany believed the United States and the Soviet Union should adhere to a strict interpretation of the 1972 Antiballistic Missile Treaty.  Mr. Nitze and Mr. Perle are on a swing through Western Europe to explain the Administration's preference for a broad interpretation that would permit extensive testing of the ""Star Wars"" antimissile systems."
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+LADIES and gentlemen, welcome to Shanghai,' said China's president, greeting leaders of the world's powers as they gathered on Jan. 1, 2100. 'A century ago, our predecessors worried that the world was headed for a Malthusian meltdown -- that we could not feed, clothe or find enough energy for an overpopulated earth. This city was a symbol of their fears.
+'Now we know the truth: there is a population crisis, but not the kind they had in mind. We are simply running out of educated, capable workers. In fact, in the places around the world that matter most to our prosperity and political stability, there are just too few babies.'
+Far-fetched? Maybe so. After all, demographers and environmentalists spent much of the 20th century worrying that unrelenting growth in the world population would ignite social and political upheaval.
+But in crunching the numbers, it seems possible that the ticking population bomb of 2100 could indeed be a people shortage in the most advanced countries, even as the nations that now rank among the poorest continue to grow. And that prospect is driving a rethinking of the economic destiny of nations and speculation about who will best be able to exercise global power in a century.
+It is a humbling exercise. 'Just about everybody got it wrong in 1900,' said Nicholas Eberstadt, a demographer who has spent his professional life trying to figure out what population projections portend for the world. A century ago, when there were roughly 1.65 billion souls, almost no one predicted the near quadrupling of the world population, he noted.
+The projections for 2100 are equally susceptible to the unpredictability of plagues, wars and enthusiasm for procreation. 'Yet it seems pretty safe to say now that the population surge is almost over,' Mr. Eberstadt said. 'A lot of countries are going to start shrinking soon -- Japan, Europe, China in 30 years or so. And that means that sooner than we think, we could be headed into the end of surplus manpower.'
+Such conclusions fly in the face of all our experience. The story of the last half-century has been a terrifying acceleration in population growth. In 1850, there were slightly more than one billion people on earth, and by 1950 the figure had barely passed 2.5 billion. But then came the post-World War II explosion, in which another billion people were added to the world's population roughly every dozen years. These trends have a momentum of their own, and the United Nations estimates that in 50 years, the world population will surge another 50 percent, to roughly nine billion.
+But dig a little deeper into the estimates, and you find some surprises. Like stock markets, populations tend to peak and then decline. And the birth boom over the next 50 years will probably be a bit like a sonic boom -- loud and scary, but localized.
+The poorest nations will continue to grow the fastest. Africa's population is expected to double in the first half of the 21st century, assuming that the AIDS epidemic does not take an even more devastating toll there on life expectancy. By 2050, India seems likely to edge out China as the world's most populous nation. Pakistan -- now broke, unstable but nuclear-ready -- is predicted to challenge the United States for third place, up from sixth place. By midcentury, each is projected to have about 350 million people. The World Bank and others warn of continuing hunger and health crises among the half of the world's population that still lives on less than $2 a day -- crises that can fuel both internal and territorial conflict.
+But the big economic and political news for the next century is that many nations worldwide, including almost all of today's most powerful, will lose population. Europe as a whole will shrink by 100 million people and become a mere 5 percent of the world's population, down from 13 percent. Japan's population will sink like a stone. Among the big industrial powers of 2000, only the United States is expected to keep growing.
+The picture drawn by these projections is far more complex than the doomsday scenarios of the 1960's, when 'The Population Bomb' by Paul R. Ehrlich became the handbook of imminent disaster. But it also raises issues that so far have been largely missing from the population debate.
+Consider China. Until now, its big issues have concerned scarcity: Will the country run out of fuel as ever-richer Chinese hop behind the wheels of new sport utility vehicles? Will it depend on the rest of Asia for rice, and on the United States and other countries for grain? But the figures suggest different questions: What happens if China runs out of the people it needs to keep growing? Will it have enough well-trained workers and credit-card-armed consumers to sustain an economy that befits its size?
+Clearly such concerns are on the minds of China's leaders. 'When you talk to Zhu Rongji,' China's prime minister, said one of President Clinton's top advisers, 'he's talking about fuel substitution and safety nets for an aging population.'
+The lesson of the 20th century, of course, is that it takes a lot more than people power to create national power. If rising population translated into rising influence, Africa would have been on a roll over the last 20 years, and Japan would have never made a mark. Skill at exploiting natural resources proved crucial in the first half of the century, while skill at exploiting nuclear weapons, free markets and information technology mattered most in the second half.
+But population and power are hardly divorced, either. It still takes a national head count of 100 million or more before the world stops, listens and heeds. So the big question is: Can countries gain strength even while their populations shrink?
+The Europeans clearly worry about this; it's one reason the European Union came together after a century of division. The Chinese know that their future depends on technology and efficiency, but nonetheless are hedging their bets, spending billions of dollars to maintain one of the world's biggest armies. In Russia, already shrinking, it will take far more than a reversal of population trends to end the sapping of power.
+All this portends well for the United States, the only industrialized power that is still demographically young. Its rivals in the developing world may have the numbers to challenge American hegemony, but they seem unlikely to have the military hardware or the economic software. And the industrialized world -- Japan and Europe -- will have the hardware and the software, but likely will find themselves desperate for the dynamism that is fueled by population growth.
+That's the theory, at least -- unless the demographers get it wrong again.
+VISIONS: BIOLOGY"
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+LEAD: Fishermen clearing ice from around their cutter at mouth of the Elbe River in Friedrichskoog, near Ham-burg, West Germany. The cold wave has claimed more than 300 lives in Europe, but temperatures have moderated in Britain and some parts of the Continent. (AP)
+Fishermen clearing ice from around their cutter at mouth of the Elbe River in Friedrichskoog, near Ham-burg, West Germany. The cold wave has claimed more than 300 lives in Europe, but temperatures have moderated in Britain and some parts of the Continent. (AP)"
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+LEAD: Chancellor Helmut Kohl, center, meeting yesterday with Jesse Helms, left, and Claiborne Pell of the Senate Foreign Relations Committee. Mr. Kohl also met with Secretary of State George P. Shultz, who asured the Chancellor of American support for his efforts to obtain a comprehensive NATO decision on the development of a new overall arms strategy.
+Chancellor Helmut Kohl, center, meeting yesterday with Jesse Helms, left, and Claiborne Pell of the Senate Foreign Relations Committee. Mr. Kohl also met with Secretary of State George P. Shultz, who asured the Chancellor of American support for his efforts to obtain a comprehensive NATO decision on the development of a new overall arms strategy. Mr. Kohl is to meet with President Reagan today. (Reuters)"
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+LEAD: Lester Piggott, one of England's best-known jockeys, received a three-year jail sentence and fines for income-tax evasion. Page 59. (Reuters)
+Lester Piggott, one of England's best-known jockeys, received a three-year jail sentence and fines for income-tax evasion. Page 59. (Reuters)"
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+LEAD: Prime Minister Margaret Thatcher, who, on Sunday, became the longest serving British Prime Minister in the 20th century. Details, page A6. (Agence France-Presse)
+Prime Minister Margaret Thatcher, who, on Sunday, became the longest serving British Prime Minister in the 20th century. Details, page A6. (Agence France-Presse)"
+False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,True,True,False,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,True,False,True,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"A Pledge to Aid the Balkans
+Correction:  August 1, 1999, Sunday  A front-page picture caption yesterday about a meeting of world leaders in Sarajevo to inaugurate a rebuilding effort for southeastern Europe and its economy misstated the given name of the German Chancellor. He is Gerhard Schroder, not Helmut."
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+The first United States stamps of the new year go on sale nationwide tomorrow: a set of five 29-cent stamps to commemorate the Winter Olympic Games in Albertville, France.
+And with the first 1992 issue, the United States Postal Service seems to have committed its first gaffe of the new year: the dates given for the Winter Olympics in the margin of the sheet of stamps are Feb. 8-25; in fact, the games are to end Feb. 23.
+The Postal Service has confirmed that the error was made but has said there are no plans to reprint the stamps to correct it.
+The marginal markings were begun in earnest early last year to make stamps more educational, but this is the second error that has cropped up. The 52-cent stamp issued on June 3 to honor Hubert H. Humphrey had the wrong dates for his Vice Presidency: 1964-68 rather than 1965-69.
+A second set of five 29-cent stamps is to be issued in May or June to celebrate the Summer Olympics, and a single 29-cent stamp is due on April 3 to mark the entry of baseball as an official Olympic sport this year.
+For the first time, the Postal Service has announced nearly all the issues planned for the coming year; it had been the practice to announce each stamp a few weeks before its release to the public.
+The timing was changed in order to generate more interest in collecting stamps, Postmaster General Anthony M. Frank said at a presentation in Washington last month. ""We want to call attention to a wider audience the historical and esthetic value of the variety of American stamps,"" he said.
+If the current plans are fulfilled, there will be a record number of different stamps issued this year: 129 have been announced, up from 103 last year.
+By far the largest single issue will be a sheet of 50 different wildflowers, which is to be released in Columbus, Ohio, in June or July.
+Another large issue will be a set of six souvenir sheets that show a total of 16 stamps, copies of the 1893 set that celebrated the 400th anniversary of Columbus's first voyage to the Americas (albeit a year late). Five of the sheets will have three stamps each, together with an enlargement of one of the three designs; the sixth, showing the $5 Columbian of 1893, includes a portrait of Columbus.
+The Columbian sheets are to be issued on May 22 in Chicago, to coincide with a national stamp show there.
+The second souvenir sheet in a series marking World War II anniversaries is to be issued on Aug. 14 in Indianapolis. Like the 1991 sheet, this issue will include a large map, with five different stamps across the top and five across the bottom.
+The tentative calendar of other stamps looks like this:
+Jan. 24. World Columbian Stamp Expo, a 29-cent commemorative, to be issued in Rosemont, Ill.
+Jan. 31. W. E. B. Du Bois, the writer and educator, a 29-cent commemorative in the Black Heritage series, in Atlanta.
+Feb. 6. A 29-cent stamp in an ongoing series released just before Valentine's Day, in Loveland, Colo.
+Feb. 16. Wendell L. Willkie, the politician, a 75-cent Great Americans definitive, in Bloomington, Ind.
+March. A 29-cent Flag Over the White House coil stamp and a 29-cent Great Americans definitive to honor Earl Warren, the Chief Justice, both to be issued in Washington.
+April 24. First Voyage of Columbus, a set of four 29-cent stamps, part of a joint issue with Italy and Spain, to be issued in Christiansted, V.I.
+May 17. New York Stock Exchange, a 29-cent commemorative, in New York.
+May 29. Space Exploration, a set of four 29-cent stamps, planned as part of a joint issue with the Soviet Union and now likely to be issued jointly with Russia, in Chicago.
+May 30. Alaska Highway, a 29-cent stamp in honor of the route's 50th anniversary, in Fairbanks, Alaska.
+June 1. Kentucky Statehood, a 29-cent commemorative to mark the 200th anniversary, in Danville, Ky.
+June 15. Hummingbirds, a booklet of five different 29-cent designs, in Washington.
+Aug. 22. Dorothy Parker, the writer, a 29-cent commemorative in the Literary Arts series, in West End, N.J.
+Aug. 31. Theodor von Karman, the rocket scientist, a 29-cent commemorative, in Washington.
+Sept. 17. Minerals, four 29-cent designs, in Washington.
+Sept. 28. Juan Rodriguez Cabrillo, the Spanish explorer who discovered San Diego Bay 450 years ago, a 29-cent commemorative, in San Diego.
+Oct. 1. Wild Animals, a booklet of five different 29-cent designs, to celebrate Stamp Collecting Month, in New Orleans.
+Oct. 22. Christmas, with one design showing a Madonna and Child and four showing traditional toys, all valued at 29 cents, in Washington.
+The Postal Service also plans a new definitive in the Wildlife series, showing a pumpkinseed sunfish, and a Special Occasions booklet with two different designs, but further details were not released."
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+LEAD: All Democratic Presidential candidates, in varying degree, are supporting the arms control treaty Ronald Reagan and Mikhail Gorbachev are about to sign. All Republican candidates except Vice President Bush are opposing the treaty, or reserving judgment.
+All Democratic Presidential candidates, in varying degree, are supporting the arms control treaty Ronald Reagan and Mikhail Gorbachev are about to sign. All Republican candidates except Vice President Bush are opposing the treaty, or reserving judgment.
+This not only confounds partisanship; it suggests a Republican death wish on arms control perhaps as deep-seated as the Democrats' seemingly incurable urge to raise taxes. That's because the proposed elimination of medium- and short-range nuclear missiles from Europe is not only a useful if limited step away from the dangerous age of superpower nuclear confrontation. It's also likely to appear that way to American voters.
+What, after all, will they perceive as being on the verge of accomplishment, if the treaty is signed as scheduled and sent to the Senate for ratification?
+First, and for the first time in the history of arms control negotiations, an entire category of missiles will have been removed from the superpowers' armed forces. By far the larger number of weapons removed, moreover, will be Soviet; and though what matters is the equality of the end result -no short- or medium-range missiles in Europe for Moscow or Washington - the greater Soviet numerical sacrifice is likely to be appealing to Americans. Only suppose it were the other way around.
+Second, the primary American weapon to be eliminated - the Pershing 2 - is particularly 'destabilizing' because it can reach far into the Soviet Union from launchers in West Germany. Thus, it threatens the Russians with a devastating strike against their command system and important military outposts - which means, in turn, that these U.S. missiles offer a tempting target for a pre-emptive Soviet strike. Elimination of this weapon from the European scene would ease the level of military tension in any East-West political crisis.
+Third, and perhaps most important for the long term, the treaty, if signed and ratified, would establish an intricate system of on-site inspection by both sides. This satisfies even Senator Bob Dole, Mr. Bush's principal challenger - though Mr. Dole has yet to support the treaty - and goes further than any arrangement yet in meeting other hawkish Americans' demands for 'foolproof' verification; it will accomplish a long-sought U.S. objective - at least a partial opening of the Soviet Union to foreign inspection; and it establishes a precedent for verification procedures in future, perhaps more extensive, arms agreements.
+Fourth, the acceptance of this treaty would be an indispensable step toward such future agreements - in particular, the progressive reduction by both sides of intercontinental ballistic missiles and long-range bombers, the weapons that would make a 'first strike' possible for either side.
+The treaty might also be an important political achievement for Mr. Gorbachev, who seems to have been determined to reach an agreement; and though his reform efforts have as yet been limited, his survival in power seems, on balance, to be in the U.S. interest.
+As for Mr. Reagan, there's no doubt that the treaty offers at least partial redemption for his weak second term. How can Republican Presidential candidates oppose this major Reagan achievement and plausibly claim his political mantle? How can they praise him - deservedly - for a tough negotiating stance that helped 'bring the Soviets to the table,' then condemn the results obtained at that table?
+What, in any case, are the arguments against the treaty? Medium-range missiles are not important? Then they aren't worth fighting to retain. Verification won't be 110 percent foolproof? Americans are likely to see on-site inspection in the Soviet Union as good enough, and a long step forward.
+The only argument of any weight is that the treaty leaves Europe vulnerable to Soviet conventional strength. But with more than 4,000 U.S. tactical warheads remaining in Europe, together with British and French nuclear forces, Western nuclear deterrence to a conventional attack will remain significant. And when the U.S. first had no medium-range missiles in Europe, from 1963 to 1983, deterrence nevertheless must have been adequate.
+Besides, a Soviet 'conventional' assault on Western Europe makes no more sense now than it ever did, and still - as both sides know - is as likely as it ever was to set off, one way or another, the nuclear holocaust.
+IN THE NATION"
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+Correction:  June 22, 1999, Tuesday  A picture caption on June 10 about Pope John Paul II and a Polish family misspelled the family's surname and the name of the town where the meeting occurred. The family is Milewski, not Milweska; the town is Leszczewo, not Lesczewo. The caption also misidentified the region where the Pope grew up. It was southern Poland, not northeast."
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+Correction:  August 25, 1995, Friday
+A front-page picture caption yesterday about a service honoring United States diplomats killed in Bosnia misidentified the daughter of one of them in some editions. The young woman, who was being consoled by President Clinton, was Sarah Frasure, not Virginia Frasure."
+False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,True,False,False,True,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Historic Tree Heads Home, Sort Of
+LEAD: Parks Commissioner Henry J. Stern, left, and Joana Battaglia, president of the Parks Council, with cuttings of a 141-year-old weeping beech tree, above, that they presented to Consul General Ferdinand De Wilde of Belgium.
+Parks Commissioner Henry J. Stern, left, and Joana Battaglia, president of the Parks Council, with cuttings of a 141-year-old weeping beech tree, above, that they presented to Consul General Ferdinand De Wilde of Belgium.
+The tree, which is said to be the ancestor of all weeping beeches in America, was brought to Queens as a cutting in 1847 and still adorns Weeping Beech Park. (NYT/Barton Silverman)"
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+Statehood and Stamps
+Estonia and Armenia announced the issue of new stamps last month, the first since they declared their intent to leave the Soviet Union.
+With the possibility that 15 nations may be carved out of what was once was the Union of Soviet Socialist Republics, stamp collectors can look forward to building new collections. But that might not be any time soon: the establishment of postal administrations is proving complex and disorderly.
+The Baltic nations, especially Lithuania, have been the most aggressive in promoting what has always been one of the first signs of nationhood: the issuance of stamps. How many stamps have been issued, in what format, and with what international validity under the regulations of the Universal Postal Union are questions that have not been fully answered.
+Until October, Lithuania and Latvia apparently were the only former Soviet republics to issue stamps. Some mint stamps have appeared on the United States market, far fewer on international mail, sometimes alone, sometimes with Soviet stamps.
+Now the third Baltic nation, Estonia, has issued a series of nine definitive stamps, with two additional high values due this week, the president of the Estonian Philatelic Society, Rudolph Hamar, said in an interview.  The issues from the three Baltic nations are the first since they lost their sovereignty early in World War II.
+Estonia's low values show the coat of arms of Estonia with three lions; two high values show the Estonian flag and a map of Estonia set into a map of Europe. The denominations show numerals only, without specifying a currency, and it is unclear whether Estonia intends to continue to use Soviet kopecks. For more information, contact the Estonian Philatelic Society, 243 East 34th Street, New York, N.Y. 10016.
+Armenia has announced a 50-kopeck stamp to celebrate its first direct telecommunications links with the West, according to the American Telephone and Telegraph Company, which opened the link on Oct. 24. A digital switching system in the capital, Yerevan, was built and installed by A.T.&T. The stamp is being printed in the Netherlands and should be released within a month, A.T.&T. said.
+Armenia, like Azerbaijan, Georgia, the Russian Soviet Republic and the Ukraine, issued stamps during a brief period after World War I when several of the nations enjoyed a few years of independence before being subsumed into the Soviet Union. Another republic, Moldavia, issued stamps from 1858 until 1964, when it was formally divided beween the Soviet Union and Romania.
+Scott's, the standard stamp catalogue in the United States, does not list any issues from the six other republics -- Byelorussia, Kazakhstan, Kirghizistan, Tadzhikistan, Turkmenistan and Uzbekistan -- but some are in European catalogues.
+There are hobby groups specializing in the stamps of Eastern Europe. Names and addresses are available from the American Philatelic Society, P.O. Box 8000, State College, Pa. 16803; writers are asked to enclose a stamped, addressed business envelope.
+New Postal Guide
+The Postal Service has published the 1991 edition of what is certainly its best product: The Postal Guide to U.S. Stamps.
+The catalogue, which can fit into a coat pocket, is handsomely illustrated in color and is printed on high-quality glossy paper. It lists all the postage stamps, with numbers and prices from the standard Scott catalogue, as well as selected types of revenue stamps and postal stationery. The price is $5.95, an excellent value for any collector whose focus is postal stamps.
+Scott's Specialized Catalogue of United States Stamps, whose latest edition is due out this month, is of course vastly more detailed. But it costs (and weighs) three times more, and the black-and-white illustrations are sometimes so muddy that it is difficult to find even recent issues.
+A third popular price list, also pocket size, is Brookman Stamp Prices (Brookman Stamp Company, Bedford, N.H., $7.95). It has more United States material than the Postal Service guide, plus stamps from the United Nations and Canada. Brookman is also a stamp retailer, and will supply stamps at the prices listed, which run a bit higher than Scott's.
+Brookman's ring-bound format is easy to handle, but not all stamps are shown and, like Scott's, the illustrations are not always clear."
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+NATO officials said today that the Bosnian Serbs had indicated that they might sever some ties with the peacekeeping force after the indictment of one of their generals by the war crimes tribunal at The Hague.
+A letter from Bosnian Serb military officials in northeastern Bosnia referred ""to the possibility that they may not attend military committees in future,"" said Brig. Gen. Andrew Cumming of the NATO force in Sarajevo.
+A NATO spokesman, Capt. Mark van Dyke, said several Bosnian Serb military units in area, which is controlled by United States troops, had also said they would not attend the meetings.
+Captain van Dyke said he ""could not rule out the possibility"" that the new Bosnian Serb intransigence was in response to the indictment on Friday by the tribunal at The Hague of a Bosnian Serb general, Djordje Djukic, for crimes against humanity in connection with the long Serbian bombardment of Sarajevo.
+The Bosnian Serbs severed all contacts with the NATO force last month after the Muslim-led Bosnian Government extradited the general and another Bosnian Serb officer to The Hague.
+Ties were restored after Balkan leaders were called to an emergency meeting in Rome.
+The Serbs have appealed to the peacekeeping force in Sarajevo to increase their presence in the towns around the capital being handed over to the Muslim-led Government.
+Only about 1,000 Serbs of a population of 37,000 have stayed in two suburbs,  Vogosca and Ilijas, that have been handed over to the police from the Muslim-Croat federation so far. Today in the Serb-held suburb of Ilidza, which is to be transferred to Government control on March 12, at least a dozen graves  were being dug up as more Serbs prepared to leave."
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+Two Bosnian Serb women surveyed the bodies of soldiers yesterday in search of loved ones after an exchange of the remains of war victims in Banja Luka. Nine of the 17 bodies of the Bosnian Serbs, who were killed during an offensive last  autumn in western Bosnia, were identified. (Reuters)"
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+LEAD: A Soviet Su-27 fighter in a photo taken yesterday from a Norwegian P-3B Orion patrol aircraft flying in international airspace over the Barents Sea. The fighter brushed the wing of the Norwegian plane and damaged one of its engines. No one was injured.
+A Soviet Su-27 fighter in a photo taken yesterday from a Norwegian P-3B Orion patrol aircraft flying in international airspace over the Barents Sea. The fighter brushed the wing of the Norwegian plane and damaged one of its engines. No one was injured.
+Norway announced it had protested the incident. (AP)"
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+LEAD: Family and friends of Cpl. Derek Wood mourning as he was buried in Carshalton, near London. Corporal Wood and Cpl. David Howes were dragged from their car, stripped, beaten and shot by members of a Roman Catholic funeral procession Saturday in Belfast, Northern Ireland. (Reuters)
+Family and friends of Cpl. Derek Wood mourning as he was buried in Carshalton, near London. Corporal Wood and Cpl. David Howes were dragged from their car, stripped, beaten and shot by members of a Roman Catholic funeral procession Saturday in Belfast, Northern Ireland. (Reuters)"
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+LEAD: Erich Honecker, the East German leader, saluting as he and Chancellor Helmut Kohl of West Germany reviewed an honor guard in Bonn on the first visit by an East German leader to West Germany. Page A8. (AP)
+Erich Honecker, the East German leader, saluting as he and Chancellor Helmut Kohl of West Germany reviewed an honor guard in Bonn on the first visit by an East German leader to West Germany. Page A8. (AP)"
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+The 12 foreign ministers of the European Community, ending a two-day meeting here, said today that they would offer further economic help to five of the six Yugoslav republics, excluding only Serbia. The community regards Serbia as the aggressor in the civil war.
+The ministers postponed consideration of recognition for Bosnia and Herzegovina and Macedonia.
+Lord Carrington, chairman of the community's Yugoslav peace conference, will visit Yugoslavia next week."
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+LEAD: Matilda Cuomo, wife of the Governor, shaking hands with President Francesco Cossigna of Italy yesterday in Rome. At left was John Guode, president of the Christopher Columbus Quincentenary Jubilee Commission. Theyt were attending a reception for members of the commission, which is in Rome to plan for the celebrations marking the 500th anniversary of the discovery of the New World.
+Matilda Cuomo, wife of the Governor, shaking hands with President Francesco Cossigna of Italy yesterday in Rome. At left was John Guode, president of the Christopher Columbus Quincentenary Jubilee Commission. Theyt were attending a reception for members of the commission, which is in Rome to plan for the celebrations marking the 500th anniversary of the discovery of the New World."
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+Photo: The coffin of King Olav V of Norway being carried by military officers during the King's funeral procession yesterday in Oslo. Olav died on Jan. 17 and was succeeded by King Harald V. (Reuters)"
+False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,True,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,True,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Polish Leaders, Facing Domestic Challenges, Unite to Honor War Dead
+LEAD: Prime Minister Tadeusz Mazowiecki, left, joined President Wojciech Jaruzelski, center, and Lech Walesa of Solidarity to mark the 50th anniversary of the start of World War II. The occasion, overshadowed by domestic conflicts, fell short of the celebration of unity that some had hoped for. Page 5. (Associated
+Prime Minister Tadeusz Mazowiecki, left, joined President Wojciech Jaruzelski, center, and Lech Walesa of Solidarity to mark the 50th anniversary of the start of World War II. The occasion, overshadowed by domestic conflicts, fell short of the celebration of unity that some had hoped for. Page 5. (Associated Press)"
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+Russia's former nuclear energy minister, accused of stealing millions of dollars from American programs intended to improve Russia's nuclear security, has won a legal victory in Switzerland and will not be extradited to the United States, lawyers in the case said Thursday.
+Instead, the former minister, Yevgeny O. Adamov, 66, will be sent home to Russia, where he is also under investigation.
+The Swiss supreme court decision, made public Thursday, ended for the moment an intense legal and diplomatic battle.
+Mr. Adamov was the minister in charge of nuclear power from 1998 to 2001, when President Vladimir V. Putin dismissed him amid allegations of corruption.
+Prosecutors in the United States claim that from 1993 to 2003, he diverted more than $9 million in American aid to other uses, in part through fraudulent corporations and money laundering with an associate in Pennsylvania. He was indicted earlier this year in Pittsburgh on federal charges including fraud, money laundering and tax evasion.
+Although Russia had previously made similar, less detailed allegations, it reacted to the indictment viscerally, insisting that Mr. Adamov was chosen for prosecution by the United States in hopes of prying nuclear secrets from him.
+The two countries have been presenting legal arguments in Switzerland, where he was detained in May at the United States' request.
+Russia had argued that it was investigating the American allegations against Mr. Adamov as well. And it said its case took priority because Mr. Adamov is a Russian citizen, it was in his capacity as a Russian official that he is accused of committing many of the crimes, and Russia, for whom the aid was intended, was a victim.
+The new decision overturned a Swiss ruling in October that he be sent to the United States for trial. It was a clear victory for Mr. Adamov and a political victory for Russia, which has been loudly complaining about the case.
+The head of Mr. Adamov's American legal team, Lanny A. Breuer, said his client hoped to clear his name, not just in Russia but in the United States. 'We are determined to find a way, if it is at all possible, to refute these charges so they don't go unanswered,' he said by telephone.
+He also noted that uncertainties remained. It was not immediately clear when Mr. Adamov would return to Russia. It was also unclear whether he would be free or in custody as the Russian investigation proceeded, or even whether the Russian investigation was genuine or merely a diplomatic tool to outmaneuver the United States in Swiss court.
+NTV, the Russian television station, said on its nightly news broadcast that Mr. Adamov would be returning home in handcuffs. It did not cite its sources.
+The status of his case in Pittsburgh is also unresolved. Mary Beth Buchanan, United States attorney in the Western District of Pennsylvania, said in a telephone interview that because Russia and the United States did not have an extradition treaty, 'it is unlikely we can have him extradited back to the United States.'
+She added, 'We are certainly hopeful that the Russians will proceed with the charges.'"
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+LEAD: Photo: A lawyer for 24 former Romanian Communist leaders arguing yesterday that the judge in the case could not be objective because he had presided at the trials of the ousted dictator Nicolae Ceausescu. The trial adjourned after the military court agreed to replace the judge. (Agence France-Presse)
+Photo: A lawyer for 24 former Romanian Communist leaders arguing yesterday that the judge in the case could not be objective because he had presided at the trials of the ousted dictator Nicolae Ceausescu. The trial adjourned after the military court agreed to replace the judge. (Agence France-Presse)"
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+LEAD: Erich Honecker, left, with President Francois Mitterrand yesterday after arriving at Orly Airport. Mr. Honecker is the first East German leader to visit any of the three Western powers that have occupied West Berlin since World War II. French officials say there are no plans for signing agreements, but the talks are seen as a step toward overcoming what Mr.
+Erich Honecker, left, with President Francois Mitterrand yesterday after arriving at Orly Airport. Mr. Honecker is the first East German leader to visit any of the three Western powers that have occupied West Berlin since World War II. French officials say there are no plans for signing agreements, but the talks are seen as a step toward overcoming what Mr. Mitterrand has called a 'fundamentally artificial' split between East and West. (AP)"
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+More than two weeks after the I.R.A. ended its 17-month cease-fire with a scattering of bombs in London, the leaders of Britain and Ireland last week tried to put the battered Northern Ireland peace process back on track. On Wednesday, Prime Ministers John Major of Britain and John Bruton of Ireland said talks between all the warring sides -- once an elusive prospect -- would take place without fail on June 10.
+But before there is a solution to Northern Ireland's troubles, a number of hurdles must be cleared. The two Prime Ministers said that Sinn Fein, the political arm of the Irish Republican Army, would be welcome at the bargaining table only if I.R.A. first agreed to resume its cease-fire.
+The I.R.A. made it clear it wasn't rushing in to anything. Irked by the Prime Ministers' having set out a schedule for quick elections in the North to decide who will speak for the parties there, the I.R.A. said it had no immediate plans to return to its 17-month cease-fire.
+Mr. Major called the group's response ""a sick joke,"" adding a warning to the  I.R.A.: ""Either decide to behave properly and get into democracy, or democracy will go on without you.""
+President Clinton's response was considerably gentler. On Friday he decided to renew a visa for Gerry Adams, the head of Sinn Fein, the I.R.A.'s political arm, as an early St. Patrick's Day present.
+SARAH LYALL"
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+LEAD: Zola Budd was suspended from competition pending a review of charges that she competed in South Africa. Page B13. (AP)
+Zola Budd was suspended from competition pending a review of charges that she competed in South Africa. Page B13. (AP)"
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+In the turmoil that has engulfed much of the former Yugoslavia over the last two years, the practice of law has also become precarious, particularly for those engaged in civil rights cases.
+Nikola J. Barovic, a Belgrade lawyer, says that in the course of defending clients accused of ""anti-state activities"" he has been threatened twice at gunpoint by militiamen, once in Croatia and once in Serbia.
+""I was luckier than most,"" he said in an interview last week in Washington, where he briefed Administration and Congressional officials on his activities. ""Some of my colleagues have been tortured and their law offices blown up.""
+For Mr. Barovic, 43, civil rights law is a family matter. His father, Jovan, who died in 1979, won international renown as the defender of political dissidents during the Communist regime of Marshal Tito. Took Over Father's Cases
+The younger Mr. Barovic, a graduate of Belgrade University's law school, started work in the offices of Veljko Kovacevic, another civil rights lawyer and opposition politician, and took over some of his father's cases, including that of Mihajlo Mihajlov, a dissident writer persecuted by the Tito regime who now lives in Washington.
+Among the others he has defended are Ivan Zvonimir Cicak, a Croatian dissident in the Tito era who is now an opponent of President Franjo Tudjman of Croatia; Vojislav Seselj, a nationalist who now heads an extremist party in Serbia and has been accused by the United States of war crimes, and Vuk Draskovic, another Serbian nationalist who heads an opposition party in Belgrade.
+Mr. Barovic said his specialization in Yugoslav civil rights cases had prepared him for practicing law in today's war conditions. Not only did it sensitize him to the ways authoritarian states sometimes deal with citizens they deem hostile, he said; it also gave him a network of former clients who hold positions of power in the new republics. As a result, he said, he can practice in places denied to other Yugoslav lawyers.
+There are only ""two of us who can go back and forth between Croatia and Serbia"" to practice law, Mr. Barovic said. He said that since the summer of 1991 he had devoted about two-thirds of his time to free legal work on behalf of some 100 clients detained by the authorities in Serbia and Croatia. 'Part of the Solution'
+Before the ethnic conflicts, he said, his income ranged from $50,000 to $80,000 a year, but now he and his colleagues make about 15 percent of what they used to.
+Mr. Barovic was brought to this country by the Lawyers Committee for Human Rights, which honored him last month in New York as ""part of the solution"" to Yugoslav human rights abuses.
+His clients come from both sides of the battle lines. Among recent ones have been Serb prisoners in the Croatian city of Karlovac and Croatian soldiers who were caught trying to blow up a Serbian bridge.
+Another is an 18-year-old Serbian, who was a war prisoner in Croatia. He was traded back to the Serbs, but they then accused him of being a deserter. ""He doesn't even know if his family is alive,"" Mr. Barovic said. ""What can I do but act toward him as an older brother?""
+Mr. Barovic said he was often forced to use unorthodox methods and arguments because ordinary rules of law do not apply. ""I never saw a correct trial in Yugoslavia when the state interest was involved,"" he said, ""before the war, or now."" 'Guerrilla Without a Gun'
+Once, when a couple in Croatia had been in jail for 12 months on charges of anti-state activities, Mr. Barovic told the prosecutor that he was prepared to take the case to the International Court of Justice at The Hague. A week later the prosecutor dropped the charges.
+""You have to be a kind of guerrilla,"" Mr. Barovic said, ""but without a gun.""
+He said he was glad that the United Nations Security Council had established an international tribunal to investigate war crimes committed in the Yugoslav conflict. The tribunal will find many cases, he told an audience at the Georgetown University Law Center, because ""this is a war that by definition must be conducted by war crimes and crimes against civilians.""
+Would he consider defending people accused of such crimes? ""You always have to be prepared,"" he said. ""I am now defending victims of the war. If we want democracy in the future I will have to defend criminals who are now committing murders."""
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+The political centrifuge in which the Soviet Union is spinning has thrown off increasingly strident nationalist movements in many of the lands that make up the Union of Soviet Socialist Republics.
+One republic that seems to have landed very far from the center is Lithuania, which has been the most active in proclaiming its freedom philatelically.
+Since Lithuania declared its independence on March 11, 1990, it has issued a postal envelope with a printed 5-kopeck stamp and four stamps. It has also issued a label to raise funds to combat the effects of a Soviet blockade.
+The Lithuanian post office has also dropped from its canceling machines the letters C.C.C.P., the Cyrillic equivalent of U.S.S.R.
+The four stamps and the envelope, which has been printed with five different cachets, are for use only within Lithuania and the other Baltic republics, Latvia and Estonia. All three have agreed to recognize one another's stamps.
+Latvia has also issued a stamped envelope. This news arrived this week from an unlikely source, the Embassy of the Union of Soviet Socialist Republics in Washington. The design does not carry a denomination; there is only a banner in red and white, the Latvian colors, and the word Latvija.
+These items are not recognized by the Universal Postal Union, and so for the moment may be considered locals; each is a kind of Cinderella collected for its historical interest rather than as a real stamp.
+The design of the Lithuanian stamps and the printed envelope are identical: An angel holding a lamp is silhouetted against a map of Lithuania. The map seems to include parts of the country that have long been under Polish control, a sort of Greater Lithuania, but this seems to have been inadvertent and not a claim on that territory.
+Stamps as a symbol of nationhood have a long and honorable history; there are active collectors of the stamps of Croatia, for example, a republic now within the federation of Yugoslavia whose backers have produced ""stamps in exile,"" if you will, for many years. (Information: The Croatian Philatelic Society, c/o James T. Lee, Box 770913, Cleveland, Ohio 44107.)
+There is no question of the intent of the Lithuanian postal authorities in issuing stamps: The first cachet on the stamped envelope, which was issued May 17, 1990, shows an oak tree, the symbol of Lithuania, and the inscription ""Restoration of the Independent Republic of Lithuania,"" with the date given as 1990 III.11.
+Rigastamps (Box 326, Eaton, Ohio 45320-0326) has a small supply of Lithuanian material and the Herrick Stamp Company (Box 219, Lawrence, N.Y. 11559) is offering new Baltic issues on a subscription basis.
+Lithuania, like Latvia and Estonia, issued hundreds of universally recognized stamps from the end of World War I until the Baltics became an arena of war between Germany and the Soviet Union in 1940. If Lithuania's political distance from Moscow gains wider recognition, especially by the Universal Postal Union, today's Cinderellas could become philatelic princesses. Black Heritage Month
+February is Black Heritage Month, and the United States Postal Service usually issues a stamp to commemorate achievements by black inventors, artists, labor leaders and others. This year's stamp, featuring Jan Matzeliger, the inventor, is to be issued in Lynn, Mass., but the date was made uncertain by the change in postal rates on Feb. 3.
+For collectors interested in this topic, Brookman, Barrett & Worthen offers a album of 40 pages, each with space for a stamp, a plate-number block and a first-day cover. There is also a short biography.
+The album, available for $22.95 from Brookman (10 Chestnut Drive, Bedford, N.H. 03102), is similar to an earlier work by Ernest A. Austin, ""Black American Stamp Album."" Mr. Austin's album incudes spaces for some foreign stamps that honor American blacks and is published by Austin Enterprises, Box 3717, Cherry Hill, N.J. 08034-0571, for $29.95, plus $6.50 for a 1990 supplement.
+For collectors wishing to specialize, last summer's issue of Biblical Philately includes a list of 42 countries that have issued stamps honoring the Rev. Dr. Martin Luther King Jr. Such a collection could be put together at relatively low cost and lead young collectors, especially, to learn more about the civil rights leader.
+Biblical Philately is published by the Biblical topic study unit of the American Topical Association. Information: Bob Leeka, 5337 Buena Vista, Roeland Park, Kan. 66205."
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+LEAD: President Reagan gesturing after his speech yesterday in West Berlin. With him were Chancellor Helmut Kohl, right, and Philip Jenninger, buttoning his jacket, president of the West German Parliament. Page 3. (NYT/Paul Hosefros)
+President Reagan gesturing after his speech yesterday in West Berlin. With him were Chancellor Helmut Kohl, right, and Philip Jenninger, buttoning his jacket, president of the West German Parliament. Page 3. (NYT/Paul Hosefros)"
+True,False,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,False,False,True,False,True,True,False,True,True,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,True,False,False,False,False,True,False,True,True,True,False,True,False,False,True,False,False,False,False,False,True,True,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,True,False,False,True,False,False,True,True,False,False,False,False,True,False,True,False,True,False,False,True,False,True,True,False,True,False,False,True,True,False,False,False,True,False,True,False,True,True,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,True,True,False,True,False,False,True,False,True,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,True,True,False,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,"At the Bar; A top Russian judge, in limbo, testifies to the perils and promise of law back home.
+Sitting in a New York hotel room recently, Judge Ernest Ametistov of the Constitutional Court of the Russian Federation took a break from what he called ""an absolutely crazy day,"" filled with speeches, reunions and conversations with the curious.
+But the craziness Judge Ametistov found in Manhattan hardly compares to what he has seen in Moscow over the last two years. Russia, he said, finds itself in a ""battle between Communism and democracy, slavery and freedom, the past and the future,"" and his court, the nation's highest, has been caught in the crossfire. After the jurisprudential Chernobyl that was the Soviet Union, the first buds of law sprouted through the ashes, only to wither as Russia's President, Boris N. Yeltsin, wrestled with its Parliament.
+Whenever the battle between Mr. Yeltsin and his enemies -- notably Vice President Aleksandr Rutskoi and Ruslan Khasbulatov, the chairman of the Congress of People's Deputies -- reached his court, Judge Ametistov invariably voted with Mr. Yeltsin. That made him a dissenter, one of four on the 13-member panel.
+Ultimately, Mr. Yeltsin became fed up with the majority, headed by the court's chairman, Valery Zorkin. Proclaiming that the court had degenerated into a ""tool of political struggle of great danger for the state,"" he suspended it on Oct. 7 until the adoption of a new constitution, to be voted on in a referendum next week. Judge Ametistov (pronounced ah-met-TEE-stov) thus sits on a court in limbo. That left him with enough time on his hands to visit New York, New Haven, Detroit and Chicago in mid-November.
+In speeches to the New York City bar association and to the Lawyers Committee for Human Rights, in visits to the law schools of Columbia and Yale, and in a conversation with a reporter, the 59-year-old judge offered a mixed verdict on Russian-style justice.
+On the one hand, he described a nation that has yet to learn even the rudiments of law -- where, he conceded, the creation of a court like his was ""probably premature."" Amazingly enough, he and his brethren were selected (by the Russian Parliament) after five-minute interviews.
+Traveling in Austria at the time, Judge Ametistov missed the perfunctory process altogether; he learned of his appointment only when his mother congratulated him upon his return. ""It was a kind of parody,"" he said, puffing on a Marlboro Light and speaking in English, having learned it in the Soviet era by reading novels like ""Goodbye, Columbus"" and ""The Godfather"" as well as bootlegged translations of Aleksandr Solzhenitsyn, Joseph Brodsky and Andrei Sakharov.
+Once in place, the new court had to parse a dated and internally contradictory Brezhnev-era ""constitution of developed socialism."" Judge Ametistov maintained that his colleagues, far from mediating disputes between the executive and legislature, used that constitution to thwart Mr. Yeltsin, often without holding a hearing. By creating a purportedly legal basis for the occupation of the Russian Parliament, he said, they bear responsibility for the bloodshed that followed.
+At the same time, he noted, the very existence of the court, along with its work in nonpolitical cases, represents a giant leap forward in a nation where constitutional rule, judicial review and individuals' rights are largely alien.
+""The court and law in Russia were not tools for protecting people but for suppressing them,"" Judge Ametistov said. ""But in the last years, the situation has changed. More and more people now come to the court to protect themselves.""
+Even as the tanks rolled in Moscow last October, he noted, both sides claimed constitutional support for their positions. ""It's the first time in the history of my country when the sides in civil conflict referred to a legal document,"" he said.
+Judge Ametistov, an authority on international law and human rights, first came to the United States in 1990; his mission was to study the American legal system and the lessons it offered Russian reformers. (His book on the subject was published recently in Moscow by the Lawyers Committee.) He subsequently helped draft the proposed new constitution of the Russian Federation.
+He made many friends in American human rights organizations.  They praise him as a bona fide democrat, referring to him by the familiar ""Ernest Mikhailovich."" He in turn has kind words for America's beleaguered lawyers. He singled out the Lawyers Committee and the American Bar Association, whose role in screening candidates for the Federal judiciary, he said, is something the Russian bar groups should emulate.
+In a move reminiscent of Franklin D. Roosevelt's star-crossed Court-packing plan, the reconstituted constitutional court will increase by six slots -- just enough, should his selections be ratified, for Mr. Yeltsin to fashion a bare majority. Judge Ametistov could well become the court's chairman, though he does not savor the prospect. ""My character is dissident,"" he said.
+One way or another, Judge Ametistov will have to sit once more with Judge Zorkin and others whose hands, he believes, are stained with Russian blood. ""For me personally and my colleagues, it will be very difficult to work with them,"" he lamented.
+But Judge Ametistov said he was convinced that more than a few incumbent judges, and a few years, stand between Russia and the rule of law. ""Unfortunately, everything depends not on the law or the legal system but on individuals,"" he said. ""It will be possible, but only after one or two generations of lawyers, when the Old Guard and their pupils leave."""
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+In a rare partnership between a university and a foreign government, Columbia University and the Government of Italy yesterday announced the creation of a $17.5 million Italian Academy for Advanced Studies in America.
+The academy, which will be financed entirely by the Italian Government, continues a trend in recent years in which more than 100 American universities have formed affiliations with foreign governments, companies or individuals, said several spokesmen for associations representing colleges and universities.
+The announcement was made at Columbia's Low Memorial Library by Francesco Cossiga, the President of Italy; Giulio Andreotti, the Prime Minister; Michael I. Sovern, president of Columbia, and Jonathan D. Cole, the university's provost.
+""What is unusual about the Italian arrangement is that it is an ongoing program on one campus,"" said Gilbert W. Merkx, who is the director of the Latin American Institute at the University of New Mexico in Albuquerque and who tracks foreign partnerships on American campuses. ""As far as I know, that is unique."" Plans for Spending
+Such largesse is likely to be remain rare, said Mr. Merkx. Only countries with large trade surpluses, including Japan and Germany, are in a financial position to establish similar academies.
+The academy would go far beyond the handful of existing partnerships, between foreign governments and American universities, in terms of both scope and intent. In addition to culture and history, scholars invited to study at the academy would delve into medicine, ecology, journalism and law.
+Of the amount committed by the Italian Government, $10 million will be used to endow the academy's operations and create endowed chairs, including the first one announced yesterday: a chair in international journalism.
+The $7.5 million balance will be used to refurbish the university's Casa Italiana, a 64-year-old seven-story Renaissance-style palazzo on Amsterdam Avenue near 118th Street.. Long Ties to Country
+Columbia was the only university under consideration by the Italian Government, officials said yesterday, largely because of the institution's longstanding ties to Italy. It was the first American university to establish an Italian studies program a century ago. In 1927, when Casa Italiana was erected, it was the first Italian cultural center at an American university.
+Maristella Lorch, an Italian-born professor who has taught Italian, Renaissance literature and other subjects at Columbia University and Barnard College for 40 years, was instrumental in persuading the Italian Government to establish the academy at Columbia, said Mr. Cole, the university's provost.
+She was named the director of the new academy, which is already co-sponsoring its first function, the four-day Cicero Congress, held annually to study the great Roman orator and philosopher.
+The Cicero Congress is sponsored by the Center for Ciceronian Studies in Rome, whose current president is Mr. Andreotti, the Italian Prime Minister. Both he and the Italian president are attending the congress, which has brought 450 scholars to New York. It continues through tomorrow at the Plaza Hotel."
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+SOVIET TURMOIL  Correction:  September 4, 1991, Wednesday
+Because of an editing error, an article on Monday about the history of the Baltic republics referred incorrectly to the Estonian who led his country intermittently from 1918 to 1940. He was Konstantin Pats."
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+GENETICALLY engineered crops may eventually bring about an agricultural revolution, but they continue to provoke spirited argument about their potential effects on natural ecosystems.
+Environmentalists fear the transgenic plants could run rampant, crowding out wild plant species at a time when many are already threatened with extinction. Some agricultural experts disagree, pointing out that crops have long been altered through classic breeding techniques with no such consequences. But proving either case has been difficult.
+Now British ecologists have found that a genetically engineered crop called oilseed rape, whose potential to colonize natural habitats has caused particular concern, is no more invasive than the natural, unmodified version.
+The scientists sowed both genetically altered and unaltered seeds of oilseed rape, from which canola oil is derived, in 12 natural habitats under a variety of ecological conditions in three widely separated areas of England and Scotland, then compared their behavior for three growing seasons.
+The study, reported in the current issue of the British journal Nature, is said to be the first in which transgenic plants have been intentionally grown in natural habitats and the largest field study of a plant population ever reported.
+Some biotechnology experts say the experiment could be the prototype of a general method for testing the ecological impact of transgenic plants, thereby transforming an argument that has often rested more on assertion than evidence. Test Seen as Milestone
+By providing a rigorous way to assess the ecological risk posed by transgenic plants, the pioneering British study will bring the debate ""into the realm of rational discourse,"" Dr. Peter Kareiva, an ecologist at the University of Washington in Seattle, wrote in a commentary in Nature.
+The experiment itself was reported by Dr. Michael J. Crawley, an ecologist at Imperial College on the outskirts of London, and four colleagues. Dr. Kareiva called the report a ""landmark paper.""
+""You go to conferences and people just argue and argue"" about the impact of transgenic plants on natural ecosystems, Dr. Kareiva said in an interview. ""This shows you can answer the question with a good experiment.""
+The report comes at a fortunate time for the United States, he said, since the Department of Agriculture recently published a new set of guidelines requiring that before a transgenic crop can be approved for the market, firm evidence must be produced that it poses no greater risk than the unmodified plant from which it is derived.
+Although more than 370 permits for field trials of transgenic plants have been issued, no such crop is yet on the market. One, the ""Flavr Savr"" tomato created by Calgene Inc., a biotechnology company in California, has been approved for the market by the Agriculture Department. The tomato has been genetically altered to slow the ripening process and retard spoilage, Calgene hopes to market the tomato this year, but is waiting for the Food and Drug Administration to approve it as safe for consumers.
+Dr. Crawley and his colleagues set out to test the invasive properties of transgenic plants directly. They sowed some 2,000 seeds each in the spring of 1990, 1991 and 1992. The sowings took place in Cornwall in southwest England, where winters are mild and the growing season starts early; in Berkshire in southeast England, where winters are cold and summers dry, and in Sutherland in northeast Scotland, where the growing season starts late and summer days are long.
+In each locality, four habitats typical of the region were selected for the experiment -- Cornish heath, for instance, and Scottish moors and Berkshire grassland. The habitats were selected further to provide contrasts of sun and shade, wetness and dryness.
+In each habitat the same procedures were followed. Both unmodified seeds and seeds that had been genetically modified to resist an antibiotic and a herbicide were sown. Neither antibiotics nor herbicides were actually applied to the plots, since the purpose of the experiment was simply to test whether the process of genetic modification itself would give the plant an unexpected advantage. As Dr. Crawley put it in an interview, the fear has been that genetic engineering might ""create monsters that would do wholly unexpected things.""
+Each habitat was divided into plots in which different ecological conditions were manipulated. Some, for example, were fenced against plant-eaters like rabbits and deer while others were not. Some were plowed and cultivated, some not. Still others were treated against pests and fungi, and some were not. Sixteen different biological manipulations of this sort were carried out in each habitat. The object, said Dr. Crawley, was to create growing conditions ranging from ""extremely benign"" to ""extremely hostile"" for both transgenic and unmodified plants.
+""It was an incredible setup,"" said Dr. Kareiva.
+The hypothesis was that the modified and unmodified plants would behave the same. By measuring the germination rate of the seeds and the growth rate of the plants, the scientists found their hypothesis borne out: under no set of conditions did the transgenic plants exhibit different rates of population growth from the modified ones.
+The bottom line, Dr. Crawley said, is that there are ""no convincing data at all that genetic engineering increased the invasive tendency of the oilseed rape in any of the ecological characteristics we measured."" Warning on Misinterpretation
+But Dr. Crawley warned that it would be prudent to reserve judgment on the risks posed by other crop species or different genetic manipulations. For instance, plants modified to enhance their resistance to drought or insect pests might have a competitive advantage if they escaped from a farm field into a natural ecosystem.
+Moreover, Dr. Kareiva said, risks other than invasiveness must be considered, including the possibility that genes could escape through pollen dispersal and enhance the vigor of existing, fast-spreading weeds. He wrote that ""by no means"" do the results of the Crawley experiment ""provide definitive answers for genetically engineered crops in general.""
+But, he said, the experiment shows the way toward the development of testing procedures that for the first time can assess the ecological risks of any given transgenic plant. Much work nevertheless remains before operational testing protocols, as they are called, can be derived from the British work.
+""The Crawley study is an excellent prototype, but further methods development is warranted,"" said Dr. Julie Lindemann, a plant pathologist for the Calgene company who specializes in regulatory matters. ""We don't think it means every company should have to go out and do a three-year study to duplicate Crawley,"" she went on, explaining that the testing procedure should be pared down to focus on critical elements. ""That doesn't mean the Crawley study wasn't good,"" she said. ""It was fabulous. But in terms of regulatory requirements we think there can be some streamlining.""
+Dr. Val Giddings, a biotechnology expert at the Agriculture Department, called the Crawley paper ""significant"" but said that in his opinion it contained no major new breakthrough. He said it confirmed conclusions that departmental scientists had already reached based on other data, ""and does so in a way that I think is irrefutable.""
+He said the canola crop had widely been expected ""to be the most problematic"" among major global crops with respect to its ability to colonize natural habitats. But the Crawley study, he said, showed that ""this is in fact unlikely, and indeed much less likely than many had supposed.""
+Both Dr. Kareiva and Dr. Crawley believe the British experiment is indicative of the role population ecologists can play in addressing important environmental problems. It shows, Dr. Crawley said, that ""ecologists aren't people interested in recycling aluminum cans; that they're scientists with a body of theory that enables them to make predictions.""
+Academic ecologists, Dr. Kareiva wrote, are renowned for arguing among themselves about all the things they do not know. ""But when it comes to designing an experiment to measure invasiveness or community impacts, or quantifying the likelihood of gene escape, population biologists and ecologists know what to do,"" he said."
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+"
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+LEAD: Rescue workers pulling victims from a crumpled bus after accident on the outskirts of London. Four people were killed and 75 injured in the crash of two buses, a truck and three cars. One bus was carrying 47 tourists from the United States. It was not immediately known if any were injured. (Reuters)
+Rescue workers pulling victims from a crumpled bus after accident on the outskirts of London. Four people were killed and 75 injured in the crash of two buses, a truck and three cars. One bus was carrying 47 tourists from the United States. It was not immediately known if any were injured. (Reuters)"
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+Correction:  June 10, 1994, Friday
+A front-page caption on Sunday with a Reuters picture of President Clinton at the World War II memorial in the American Cemetery in Cambridge, England, misstated the first name of an Arkansas veteran at the scene. He was Woodrow Crockett, not Woodward."
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+LEAD: President Kurt Waldheim of Austria receiving communion from Pope John Paul II yesterday in Eisenstadt. The Pope's visit to a death camp without mentioning Jewish victims brought Jewish criticism. Page 3. (AP)
+President Kurt Waldheim of Austria receiving communion from Pope John Paul II yesterday in Eisenstadt. The Pope's visit to a death camp without mentioning Jewish victims brought Jewish criticism. Page 3. (AP)"
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+Correction:  July 22, 1998, Wednesday  An article and a picture caption last Wednesday about the funeral of three Roman Catholic boys killed in a firebombing in Northern Ireland referred incorrectly to John Dillon, a pallbearer. He lived with the boys' mother, Chrissie Quinn, for five years and helped rear the children, but he was not the biological father of any of them, according to family members."
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+LEAD: Security agents, guns drawn, moving to protect Prime Minister Turgut Ozal, center, yesterday as an escaped convict fired two shots, hitting Mr. Ozal in the hand. The gunman was wounded and captured. Page 3. (AP)
+Security agents, guns drawn, moving to protect Prime Minister Turgut Ozal, center, yesterday as an escaped convict fired two shots, hitting Mr. Ozal in the hand. The gunman was wounded and captured. Page 3. (AP)"
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+LEAD: Prime Minister Margaret Thatcher flanked by Mikhail S. Gorbachev and his wife, Raisa, yesterday in Moscow. Mrs. Thatcher said progress on East-West arms control depended on Soviet observance of human rights, but praised the Soviet leader for releasing jailed dissidents. Page 14. (AP)
+Prime Minister Margaret Thatcher flanked by Mikhail S. Gorbachev and his wife, Raisa, yesterday in Moscow. Mrs. Thatcher said progress on East-West arms control depended on Soviet observance of human rights, but praised the Soviet leader for releasing jailed dissidents. Page 14. (AP)"
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+LEAD: Charles Haughey waving to supporters as he left Parliament yesterday in Dublin. Mr. Haughey, whose Fianna Fail party won 81 seats last month, won a third term as the Speaker of Parliament cast tie-breaking vote in an 82-82 deadlock when Mr. Haughey presented his Government for approval. (AP)
+Charles Haughey waving to supporters as he left Parliament yesterday in Dublin. Mr. Haughey, whose Fianna Fail party won 81 seats last month, won a third term as the Speaker of Parliament cast tie-breaking vote in an 82-82 deadlock when Mr. Haughey presented his Government for approval. (AP)"
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+LEAD: British diplomats arriving at Heathrow Airport yesterday after being recalled from Teheran. From left are Patrick McRee, Malcolm Russel, Martin Roger and Len Broadhurst. Britain's interest section in Teheran has now been reduced to a single representative, but the Government stopped short of an outright break in diplomatic relations.
+British diplomats arriving at Heathrow Airport yesterday after being recalled from Teheran. From left are Patrick McRee, Malcolm Russel, Martin Roger and Len Broadhurst. Britain's interest section in Teheran has now been reduced to a single representative, but the Government stopped short of an outright break in diplomatic relations. London also ordered the expulsion of 15 of the 16 Iranian diplomats in Britain. The actions came after a series of meetings failed to resolve a diplomatic feud that began when an Iranian diplomat was arrested for shoplifting. (Agence France-Presse)"
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+LEAD: The Herald of Free Enterprise being rolled upright by cranes yesterday near Zeebrugge, a month after she capsized as she left on a run to Dover, England. The estimated death toll is 134, but police believe there may have been more passengers aboard than originally reported.
+The Herald of Free Enterprise being rolled upright by cranes yesterday near Zeebrugge, a month after she capsized as she left on a run to Dover, England. The estimated death toll is 134, but police believe there may have been more passengers aboard than originally reported.
+Divers renewed their search for trapped bodies yesterday. (AP)"
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+LEAD: A memorandum of understanding to the Soviet-American agreement on medium- and shorter-range weapons pinpointing basing, production and support sites for the arms was released yesterday. Missile production installations in Magna, Utah, and Votkinsk, U.S.S.R., are open to 13-year inspections. All other sites listed here are open to one type of inspection or another, with the exception of all remaining missile production installations and all research and development launch sites.
+A memorandum of understanding to the Soviet-American agreement on medium- and shorter-range weapons pinpointing basing, production and support sites for the arms was released yesterday. Missile production installations in Magna, Utah, and Votkinsk, U.S.S.R., are open to 13-year inspections. All other sites listed here are open to one type of inspection or another, with the exception of all remaining missile production installations and all research and development launch sites. According to reports before the memorandum was released, about 130 installations in the Soviet Union and Eastern Europe and about 30 in the United States and Western Europe were to be open to inspection. But the actual memorandum shows that some of these sites were listed several times and used for various purposes. For example, there are five missile operating bases at Novosibirsk as well as missile-launcher storage sites. Not shown on this map are the American research and development sites at Wake Island and Roi Namur, Kwajalein, in the Western Pacific.  UNITED STATES  Missile support and production installations.  1. Complex 16, Cape Canaveral, Fla., test range  2. Cape Cod, Massachusetts, research and development launch site  3. Dugway Proving Grounds, Utah, test range  4. Eastern Test Range, Florida, research and development launch site  5. Eglin Air Force Base, Florida, research and development launch site  6. Fort Huachuca, Ariz., training installation  7. Fort Sill, Okla., launcher repair, training  8. Green River, Utah, research and development launch site  9. Redstone Arsenal, Huntsville, Ala., missile and launcher storage, launcher repair  10. Barking Sands, Kauai, Hawaii, research and development launch site  11. General Dynamics, Kearney Mesa, Calif., missile production  12. Hercules Plant No. 1, Magna, Utah, missile production  13. Longhorn Army Ammunition Plant, Marshall, Texas, missile production  14. Martin Marietta, Middle River, Md., launcher production  15. Poker Flats Research Range, Alaska, research and development launch site  16. Pueblo Depot Activity, Pueblo, Colo., missile storage and repair, launcher repair  17. Air Force Plant 19, San Diego, Calif., launcher production  18. McDonnell-Douglas, Titusville, Fla., missile production  19. Davis-Monthan Air Force Base, Tucson, Ariz, training installation  20. Wallops Island, Virginia, research and development launch site  21. Western Test Range, California, research and development launch site  22. White Sands Missile Range, New Mexico, research and development launch site  SOVIET UNION  1. Akhtyrka, missile operating base (two)  2. Aluksne, missile operating base  3. Aralsk, elimination site  4. Balkhash, missile storage  5. Barnaul, missile operating base (four), missile-launcher storage  6. Bataysk, missile-launcher repair, missile repair  7. Bayram-Ali, missile operating base  8. Belokorovichi, missile operating base, missile-launcher storage  9. Berezovka, launcher storage  10. Brody, missile operating base  11. Bronnaya Gora, missile storage  12. Chervonograd, missile operating base  13. Chita, elimination site  14. Drovnyaya, missile operating base (five), missile-launcher storage  15. Gezgaly, missile operating base, missile-launcher storage  16. Glukhov, missile operating base (two)  17. Gorny, missile operating base  18. Gusev, missile operating base  19. Jelgava, missile-launcher storage and elimination site  20. Kamenka, training  21. Kansk, missile operating base (four), missile-launcher storage, elimination site  22. Kapustin Yar, test range and training center, research and development launch site  23. Karmelava, missile operating base  24. Kattakurgan, missile operating base  25. Kazan, training  26. Kolomyya, missile operating base  27. Kolosovo, missile-launcher storage, missile storage  28. Korosten, missile operating base  29. Krasnodar, training  30. Ladushkin, missile storage  31. Lapichi, missile operating base  32. Lebedin, missile operating base, missile-launcher storage  33. Lesnaya, elimination site  34. Lida, missile operating base  35. Lipniki, missile operating base  36. Lozovaya, missile storage  37. Lutsk, missile operating base (two), missile-launcher storage  38. Malorita, missile operating base  39. Mozyr, missile operating base, missile-launcher storage  40. Novosibirsk, missile operating base (five), missile-launcher storage  41. Novosysoyevka, missile operating base  42. Ostrov, missile operating base  43. Pashino, missile operating base  44. Petrikov, missile operating base  45. V. I. Lenin Petropavlovsk Heavy Machine Building Plant, Petropavlovsk, launcher production  46. Pinsk, missile operating base  47. Plesetskaya, research and development launch site  48. Polotsk, missile operating base  49. Postavy, missile operating base, missile-launcher storage  50. Rechitsa, missile operating base  51. Ruzhany, missile operating base  52. Saratov, training  53. Sarny, elimination site  54. Sary-Ozek, missile operating base and elimination site  55. Semipalatinsk, missile operating base  56. Serpukhov, training  57. Skala-Podolskaya, missile operating base  58. Slavuta, missile operating base  59. Slobudka, missile operating base  60. Slonim, missile operating base  61. Slutsk, missile operating base  62. Smorgon, missile operating base (two)  63. Sovetsk, missile operating base  64. Stankovo, missile operating base and elimination site  65. Stryi, missile operating base  66. M. I. Kalinin Machine Building Plant, Sverdlovsk, launcher production  67. Taurage, missile operating base  68. Tsel, missile operating base  69. Ukmerge, missile operating base  70. Vetrino, missile operating base  71. Barrikady Plant, Volgograd, launcher production  72. Votkinsk Machine Building Plant, Votkinsk, missile production  73. Vyru, missile operating base  74. Vysokaya Pech, missile operating base (two)  75. Zherebkovo, missile-launcher storage  76. Zhitkovichi, missile operating base  77. Zasimovichi, missile operating base  WESTERN EUROPE  1. Comiso, Italy, missile operating base  2. Florennes, Belgium, missile operating base  3. E.M.C. Hausen, Frankfurt, West Germany, launcher repair  4. SABCA, Gosselies, Belgium, missile repair  5. Greenham Common, England, missile operating base  6. Molesworth, England, missile operating base (in preparation for operational status)  7. Neu-Ulm, West Germany, missile operating base  8. Schwabisch Gmund, West Germany, missile operating base  9. Waldheide-Neckarsulm, West Germany, missile operating base  10. Weilerbach, West Germany, missile storage  11. Woensdrecht, the Netherlands, missile operating base  12. Wueschheim, West Germany, missile operating base  EASTERN EUROPE  1. Bischofswerda, East Germany, missile operating base  2. Hranice, Czechoslovakia, missile operating base  3. Jena-Forst, East Germany, missile operating base  4. Konigsbruck, East Germany, missile operating base  5. Waren, East Germany, missile operating base  6. Weissenfels, East Germany, missile operating base  7. Wokuhl, East Germany, missile operating base  THE SUMMIT"
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+UPHEAVAL IN THE EAST"
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+LEAD: Klaus Fuchs was jailed in Britain in the 1950's after being convicted of passing nuclear secrets to the Soviet Union. Page B5. (Agence France-Presse)
+Klaus Fuchs was jailed in Britain in the 1950's after being convicted of passing nuclear secrets to the Soviet Union. Page B5. (Agence France-Presse)"
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+LEAD: President Reagan being escorted by Geoffrey Schwaebe, the American Ambassador to Belgium, after arriving in Brussels. Mr. Reagan declared that the United States would never sacrifice Allied interests to achieve an arms accord with the Soviet Union. Page A10. (Agence France-Presse)
+President Reagan being escorted by Geoffrey Schwaebe, the American Ambassador to Belgium, after arriving in Brussels. Mr. Reagan declared that the United States would never sacrifice Allied interests to achieve an arms accord with the Soviet Union. Page A10. (Agence France-Presse)"
+False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Horseback Outing for a Prince
+LEAD: Prince William, the 5-year-old son of the Prince and Princess of Wales, leading his pony during an outing yesterday on the Highgrove Estate in Gloucestershire, England. (AP)
+Prince William, the 5-year-old son of the Prince and Princess of Wales, leading his pony during an outing yesterday on the Highgrove Estate in Gloucestershire, England. (AP)"
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+Correction:  August 4, 2000, Friday  A picture caption on Saturday about the dedication of a cemetery by Russians and Poles in memory of Polish military officers massacred during World War II misidentified the country that controlled the site, Katyn, at the time of the killings. In 1940, the area was part of the Soviet republic of Ukraine, not in Poland."
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+LEAD: John Paul II anointing a woman in traditional costume during a beatification ceremony yesterday for a Lithuanian Archbishop, Jurgis Matulaitis, at the Vatican. The Pope said he hoped to visit the Soviet Baltic republic this year during the celebration of the 600th anniversary of Roman Catholicism there.
+John Paul II anointing a woman in traditional costume during a beatification ceremony yesterday for a Lithuanian Archbishop, Jurgis Matulaitis, at the Vatican. The Pope said he hoped to visit the Soviet Baltic republic this year during the celebration of the 600th anniversary of Roman Catholicism there. Archbishop Matulaitis was bishop of Vilnius from 1918 to 1925. Beatification is the last step before sainthood. (AP)"
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+Russia's Justice Ministry said yesterday that it had ordered the expulsion of the former East German leader, Erich Honecker, Russian press reports said. The ministry gave no date for Mr. Honecker's departure, however, and officials acknowledged that under international law they cannot force him to leave his refuge in the Chilean Embassy in Moscow. Mr. Honecker appeared yesterday at an embassy window. (Agence France-Presse)"
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+LEAD: Funeral procession for Robert McLean in Portrush, Northern Ireland. Mr. McLean and another reserve officer with the Royal Ulster Constabulary were slain Sunday while on patrol in Portrush, about 50 miles north of Belfast. The Irish Republican Army has claimed responsibility for the slayings. (Reuters)
+Funeral procession for Robert McLean in Portrush, Northern Ireland. Mr. McLean and another reserve officer with the Royal Ulster Constabulary were slain Sunday while on patrol in Portrush, about 50 miles north of Belfast. The Irish Republican Army has claimed responsibility for the slayings. (Reuters)"
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+LEAD: Pope John Paul II as his skull cap was blown off by the wind as he spoke in Manfredonia on the second day of a three-day tour of Italy's southeastern Apulia region. Earlier, in nearby Monte Sant'Angelo, the Pope said that Satan still exists and is at the root of many of the world's problems. (AP)
+Pope John Paul II as his skull cap was blown off by the wind as he spoke in Manfredonia on the second day of a three-day tour of Italy's southeastern Apulia region. Earlier, in nearby Monte Sant'Angelo, the Pope said that Satan still exists and is at the root of many of the world's problems. (AP)"
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+LEAD: Valery Giscard d'Estaing announcing his support for Prime Minister Jacques Chirac's presidential bid yesterday in Paris. 'I support the man who is now the sole candidate of the majority, Jacques Chirac, and I ask you to vote for him,' Mr. Giscard d'Estaing said. (Agence France-Presse)
+Valery Giscard d'Estaing announcing his support for Prime Minister Jacques Chirac's presidential bid yesterday in Paris. 'I support the man who is now the sole candidate of the majority, Jacques Chirac, and I ask you to vote for him,' Mr. Giscard d'Estaing said. (Agence France-Presse)"
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+The Christmas season has a strange mishmash of customs. The fir tree can be traced to Gaulic oak dieties and the lights are a reminder of the Norse Festival of Fire and its pyramid of candles.
+Santa Claus is a corruption of the Dutch Santa Klaus and Saint Nick was a child-loving bishop whose feast day should be celebrated Dec. 5.
+In some parts of England, Christmas puddings are still baked with a silver coin inside, a treat for whomever is lucky enough to bite into that particular piece. The practice is thought to date from the Roman feast of Saturnalia when magic charms were hidden in foods served during the feast.
+The pudding custom first started with the placing of silver amulets in a plum porridge as a protection from evil spirits. Each amulet had a special meaning. A silver thimble meant a woman could look forward to 12 months of spinsterhood, while a silver ring foretold wedding bells. A silver coin was a strong symbol of impending good fortune. Soon the barely edible porridge was replaced with a tastier pudding.
+The silver English three-penny issued in 1551 was the standard coin to be cooked inside the pudding, but other coins were later used. These coins were often kept in a family from year to year and used just as pudding coins. Some families may still find their pudding coins are ones that date back many generations.
+In Victorian times wealthy English parents might give their children a silver crown as a Christmas gift. The present was about two days wages for an average working man and was quite an extravagant gift.
+By the beginning of the 20th century crowns were no longer being struck for general circulation. A group of British coin lovers lobbied for their renewal and in 1927, Britain again began producing the large silver coins with the royal crown on the reverse.
+The mintage began in 1928 and ended in 1936. But after an initial flurry of interest, sales of the coins began declining. The 1934 issue sold only 932 coins and remains one of the rarest of British coins.
+Perhaps the place where coins make their greatest Christmas impact is Scrooge's resentment for the holiday expressed by his ""humbug."" The word is thought to be an English corruption of the Irish phrase, Uim Bag, (pronounced OOM-bug).
+The phrase means soft copper and refers to coins issued by the Catholic monarch James II from the Dublin mint during his unsuccessful attempt at regaining the English throne from his Protestant son-in-law, William III.
+James II desperately minted coins with any metal at hand -- lead, brass or pewter. The coins were nearly worthless. So much so, that after the Battle of Boyne in July 1690, William III ordered a devaluation. James's crowns were suddenly only worth a penny. The Irish who were saddled with the coins called them ""Uim Bag,"" shiny but worthless. The phrase, later changed to a more English humbug, was still circulating in Dickens's time."
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+LEAD: About 250 ships remained anchored in Duisburg-Ruhr port yesterday as runoff continued to swell the Rhine River near Weisbaden. American servicemen joined local firefighters and volunteers in piling sandbags along the river to shore up dikes and prevent further flooding. Six people were reported to have died in accidents in what officials described as the worst flooding in 70 years.
+About 250 ships remained anchored in Duisburg-Ruhr port yesterday as runoff continued to swell the Rhine River near Weisbaden. American servicemen joined local firefighters and volunteers in piling sandbags along the river to shore up dikes and prevent further flooding. Six people were reported to have died in accidents in what officials described as the worst flooding in 70 years. (AP)"
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+Michael and Kim Pimley of Roosevelt Island viewing the five 12-foot-high, 5,000-pound sections of the Berlin Wall that have been installed in Paley Park on 53d Street between Madison and Fifth Avenues. (John Sotomayor/The New York Times)"
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+LEAD: A woman being lifted to a helicopter from a campsite in Le Grand-Bornand, France. Officials said at least 19 people died and 28 were missing after a flash flood swept through the crowded campground. Page A3. (AP)
+A woman being lifted to a helicopter from a campsite in Le Grand-Bornand, France. Officials said at least 19 people died and 28 were missing after a flash flood swept through the crowded campground. Page A3. (AP)"
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+LEAD: Pope John Paul II speaking yesterday in Bottrop, West Germany, as he addressed an audience of some 12,000, many of them coal miners and steel workers. The Pope called for 'the just distribution of jobs and wealth' and urged better treatment of foreign workers. He said, 'Unemployment that is not the fault of the unemployed becomes a social scandal when available work is not distributed fairly and the profit of the work is not used to create new work for as many possible.
+Pope John Paul II speaking yesterday in Bottrop, West Germany, as he addressed an audience of some 12,000, many of them coal miners and steel workers. The Pope called for 'the just distribution of jobs and wealth' and urged better treatment of foreign workers. He said, 'Unemployment that is not the fault of the unemployed becomes a social scandal when available work is not distributed fairly and the profit of the work is not used to create new work for as many possible.' (Agence France-Presse)"
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+LEAD: Soviet soldiers preparing an SS-12 nuclear missile for transport yesterday in Bischofswerda. Thirty-two canvas wrapped containers, said by Communist officials to hold parts of the dismantled missiles, were loaded aboard a train for shipment to the Soviet Union. In Czechoslovakia, the state-run press said 19 SS-12 missile launchers left Hranice for the Soviet Union.
+Soviet soldiers preparing an SS-12 nuclear missile for transport yesterday in Bischofswerda. Thirty-two canvas wrapped containers, said by Communist officials to hold parts of the dismantled missiles, were loaded aboard a train for shipment to the Soviet Union. In Czechoslovakia, the state-run press said 19 SS-12 missile launchers left Hranice for the Soviet Union. The missiles, which have a range of 300-600 miles, would be the first nuclear weapons removed under the terms of the arms treaty signed in Washington in December. (AP)"
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+LEAD: Five ships from NATO's multinational mine-hunting squadron passing under Tower Bridge on the Thames yesterday. The ships, from West Germany, Belgium, Norway, the Netherlands and Britain, were scheduled to be berthed in London over the weekend. (Reuter)
+Five ships from NATO's multinational mine-hunting squadron passing under Tower Bridge on the Thames yesterday. The ships, from West Germany, Belgium, Norway, the Netherlands and Britain, were scheduled to be berthed in London over the weekend. (Reuter)"
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+BALKAN ACCORD  Correction:  December 20, 1995, Wednesday
+Because of a production error, two picture captions on Friday about scenes relating to Bosnia were reversed in some copies. A woman shown pouring coffee was in Ilidza, Bosnia and Herzegovina; two couples embracing were United States  Army soldiers saying goodbye to loved ones in Mannheim, Germany, before shipping out to Bosnia."
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+LEAD: Vice President Bush and Gen. Wojciech Jaruzelski, second from right, in Warsaw. Mr. Bush said improved relations with the U.S. would depend on a reconciliation of the Government and its opponents. Page 3. (NYT/Witold Jaroslaw Szulecki)
+Vice President Bush and Gen. Wojciech Jaruzelski, second from right, in Warsaw. Mr. Bush said improved relations with the U.S. would depend on a reconciliation of the Government and its opponents. Page 3. (NYT/Witold Jaroslaw Szulecki)"
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+Columbus Takes Chicago
+The Spanish Mint has issued a commemorative coin celebrating Columbus's first voyage to the New World. The 5,000-peseta piece won an award for the best coin design for silver crowns at the American Numismatic Association's convention last month in Chicago.
+The Spanish coat of arms is on the obverse with the words ""Juan Carlos I, Rey de Espana."" The design, flanked by two pillars, is highly reminiscent of the original Spanish real de ocho, or piece of eight. That was the pre-eminent coin in the New World in the 17th and 18th centuries, so ubiquitous that a trader could find it anywhere from Shanghai to Boston to Lima to Honolulu. The current 5,000-peseta piece uses a coat of arms that is different from the 17th-century one, but there are striking similarities.
+The reverse shows one of Columbus's ships, the Santa Maria. The design is reportedly one used by Columbus in his first letter reporting his landing in the West Indies. Surrounding the ship are the words Quinto Centenario, or fifth centennial, and the denomination.
+The United States distributors are Panda America, (800) 472-6327), and Lealco Enterprises, (800) 947-2727, extension 41). The coin costs $95 and is one of a set of 12 commemorating Spain's 500th anniversary of Columbus's discovery. A Hobby, History and Hype
+Coin collecting can provide hours of enjoyment, a lifetime hobby and a means of learning volumes about history. Sometimes it can even be very profitable. The hobbyist who carefully collects and constantly upgrades a collection can expect to sell the coins for a profit in time. In theory, the larger the investment, the larger will be the profit.
+Stories of quick riches are sometimes true, but rare. Unfortunately, they prompt some people to take advantage of naive investors with tales of guaranteed returns. As the science-fiction writer Robert A. Heinlein used to caution, T.A.N.S.T.A.A.F.L. -- there ain't no such thing as a free lunch.
+A recent letter prompts just such a warning. A reader wrote that he had invested $8,675 in four United States silver dollars purchased from R.C.V. Inc.. The company selling the coins assured him in writing that it would repurchase them within one year for the original price plus a 15-percent profit for the purchaser.
+The letterhead is impressive; the address is a suite in the Empire State Building. But the telephone has been disconnected and the company's name is no longer listed with the telephone company.
+The purchaser bought what the invoice vaguely describes as an 1881 silver dollar minted in New Orleans. It is listed as Gem Uncirculated, a condition that is not normally used in coin dealings, and no numerical grade was given by the seller to identify the coin's condition.
+And the purchaser paid $3,500, but the best available 1881 New Orleans silver dollar could be puchased from any reputable dealer for less than half that. The other three were sold for $1,725 apiece, and their actual worth was about $1,500 for the three together. Any coin-guide book available at coin shops and most libraries could point out the same information.
+Wise collectors would have checked the prices in a guide book and then checked with other coin dealers to compare prices. They would have called the local Better Business Bureau and the American Numismatic Association at (719) 632-2646. The numismatic association can tell if the dealer is a listed member, or has been suspended, or expelled from the group.
+Over a period of years, any investment in coins may be expected to return a profit. At least, that has been true in the last 50 years. But the coin market, like any other, is volatile. There's no free lunch."
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+"
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+LEAD: Gen. Bernard W. Rogers said NATO could resist a Soviet attack only for 'days, not weeks' without nuclear arms. Page A3.
+Gen. Bernard W. Rogers said NATO could resist a Soviet attack only for 'days, not weeks' without nuclear arms. Page A3."
+False,False,False,False,True,True,True,False,False,False,True,False,True,True,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,True,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,True,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,True,False,True,False,True,True,False,False,True,False,False,False,False,True,True,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,True,True,False,False,False,True,False,False,True,False,True,False,False,False,True,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Tiki Gods Emerge And Join The Luau
+IT rises like a giant war canoe, a pair of tiki gods flanking its front door, flames lapping the dusk from a red pot atop each stone head. Inside, a cloud of dry ice billows from the rum-and-fruit-juice drinks known as Smoking Eruptions. A gong sounds, a maiden appears, a macaw shifts on its perch, then lightning flashes. So much excitement, and the Samoan Flaming Chicken hasn't even been served yet.
+Welcome to the Kahiki. Port of call: Columbus, Ohio.
+The grandest and best preserved of a nearly extinct form of culinary recreation -- the Polynesian-style supper club of the 1950's and 60's -- this tropical restaurant is a vintage postcard from the South Seas, across from a Kmart. It is a painstaking hybrid of Disneyland's 'Enchanted Tiki Room,' 'Gilligan's Island' and the Chinese restaurants that thrived when 'exotic' meant water chestnuts and sweet-and-sour sauce.
+Opened in 1962 and placed on the National Register of Historic Places in 1997, Kahiki has been a real survivor -- until now. Occupying a choice retail site, it will close on Aug. 26, to make way for a Walgreens.
+While preservationists labor to save Kahiki, the luau goes on elsewhere. After a decade of bubbling under pop culture's crust like a subterranean lava pool, tiki is back. It's all happening now: surfing, the revival of Hawaiian shirts, lounge music and tropical merchandise that Trader Vic's would have adored.
+There are tiki coasters, tiki-patterned boxer shorts, a magazine called Tiki News, even a 'Tiki Type' font kit from House Industries that allows 21st century party-givers to print 50's-style luau invitations on their iMacs. Several new books include the most comprehensive look at the trend, 'In Search of Tiki: A Guide for the Urban Archeologist,' by Sven A. Kirsten (Taschen).
+In the 1980's, when he began collecting mugs shaped like primitive gods, 'tiki was considered ugly,' Mr. Kirsten said. 'You could get a tiki mug for a buck, not like now on eBay,' he said. (One from a 1961 screening of Elvis Presley's 'Blue Hawaii' sold for nearly $1,000 on the Internet late last year.)
+Josh Agle, an artist who paints tiki style, began collecting tikis about 12 years ago when he first began frequenting tiki bars. 'It started with taking home souvenir mugs,' he said. 'It was so cool, because it was like stepping back in time when you went to these bars.'
+He has recreated the ambience of those bars at home in Orange, Calif. 'It's kind of high maintenance, because tikis are dust collectors,' he said. 'But people like the U.P.S. guy are pretty impressed, even though he doesn't know what it is.'
+Anticipating a spate of Polynesian-style parties among 30- to 40-year-olds this spring, Macy's East division opened a 'Patio Luau' department with plastic plates patterned with hibiscus flowers. The shops themselves were festooned with Easter Island tiki heads and palm trees.
+'This year, we really felt that everything in the fashion market was gearing toward the return of pattern,' said Joe Denofrio, a senior vice president for fashion at Macy's East. 'We felt that if people are interested in florals for apparel, they'd be feeling the same about their summer entertaining. You can picture yourself out on your patio in floral board shorts, with a lantern and some great floral serving trays. A tiki is really a natural component there.'
+Sur La Table, the Seattle-based kitchenware retailer better known for Moroccan tea glasses than mai tai mugs, put ceramic tiki tumblers on the cover of its summer catalog. Likewise, at the trend-savvy Old Navy, tiki masks are embroidered on camp shirts.
+'For us, it's part of that whole vintage fun retro feel,' said Joe Enos, a spokesman for Old Navy. 'Everything has a wink to it.' Mr. Enos got his first taste of tiki in the 60's at a restaurant called the Coral Reef in Sacramento, Calif.
+Although Quiksilver, Tommy Bahama and other surf-inspired fashion lines have long mined tiki iconography, many mainstream designers have caught the wave this season, from Bloomingdale's and J. Crew to Ralph Lauren, who is serving up T-shirts printed with the image of a wooden tiki idol on whose base had been carved the word 'Polo.'
+Stranger still is the cross-pollination of hip-hop and tiki from a line called Mecca. The company's hot-colored T-shirts are silk-screened with Easter Island tiki heads.
+Partygoers, Mr. Denofrio said of Macy's, are doing it their own way. 'It's multicultural, and it goes every way from the South Seas to Southeast Asia,' he said. 'It's all things exotic.'
+The glut of new tiki merchandise, said Otto von Stroheim, the founder of Tiki News, 'has created the ability for more people to have fun in the tiki scene.'
+Tiki was not originally an underground movement, he pointed out. 'Before, it wasn't that hip anyway,' he said. 'It was always very mainstream.'
+Michael Stern, whose numerous books on pop culture, written with his wife, Jane, include the seminal Encyclopedia of Bad Taste, is, of course, a fan of tiki. 'What's so wonderful about tiki is that it allows us to wallow in a vernacular that's so ersatz,' he said. 'It's sort of a twice-removed fascination. There was a time when Trader Vic's was considered by sophisticated people to be true exotica. The fascination is that it still exists in that totally bogus form.' His own favorite Polynesian restaurant was the Hukilau, near Hartford, which is now defunct.
+'We Americans crave play, but there's so much seriousness in food and entertainment. But you can't do that with Polynesian stuff.'
+Mr. Kirsten understands completely. The German-born, Los Angeles-based cinematographer is an authority on the 'Polynesian Pop' movement in art and design. His lavishly illustrated book, the fruit of two decades of collecting, is due from Taschen later this year. It celebrates tiki's golden years.
+Polynesia's moment in mainland America spanned from just after World War II, when soldiers first brought home aloha shirts and Hawaiian tourism took off, through the early 60's era of Annette Funicello's 'Pineapple Princess' and the series 'Hawaiian Eye.' By the time 'Hawaii Five-O' rounded up the last villain in 1980, tiki was dead, a trend that had become stiffer than Jack Lord's hair.
+Although Mr. Kirsten concedes that tiki aficionados are rare compared with, say, Fiestaware collectors, he says restaurants like Kahiki need to take their place in pop culture history. 'The typical thing at such restaurants was to invite people from the audience to go onstage and dance the hula and make fools of themselves. There's always a need for that.'
+Unfortunately only a handful of tiki-toriums remain: the Mai-Kai, a Fort Lauderdale, Fla., luau restaurant where hula shows are still performed; the Tonga Room, a watering hole with indoor thunderstorms in San Francisco's Fairmont Hotel, and the Hala Kahiki bar in River Grove, Ill., where everything that isn't tiki is leopard print.
+At Lee's Hawaiian Islander in Lyndhurst, N.J., on a recent Saturday night, not much had changed from the nostalgic scene Mr. Kirsten describes. At the restaurant, Michael Doneff, the owner of Nice House, a Greenwich Village design store, was the host of a friend's 40th birthday party.
+'They have booths that look like thatched-roof huts,' he said. 'They have a whole wall of fake lava rock with plastic bouquets stuck in it. We had pu pu platters and flaming drinks. It was just kind of goofy.'
+While bamboo is considered chic among the tastemakers who frequent his shop, Mr. Doneff says, its tiki-tacky counterparts are hip again, too.
+'Younger kids are finding it cool,' he said. 'You see things like paper lanterns at Urban Outfitters and Restoration Hardware and you just get in the mood to hang lights and sip something out of a plastic pineapple.'
+But it is the places that celebrated tiki on a grand scale that tiki lovers most revere. 'There's no place like the Kahiki,' Mr. Kirsten said. 'It has a certain irreverence that still applies today. It's so unconcerned with political correctness and the fact that it's stepping on toes in terms of taste and ancestral customs.'
+Janu Cassidy, co-founder of the New York-based Hawaii Cultural Foundation and owner of Radio Hula, a Hawaiian shop in SoHo, said: 'Being from Hawaii, I should probably be offended, but I have an appreciation for it. What I really appreciate is the nostalgic feeling and the romance behind it all.'
+It's even having an effect in her home state. 'For the first time in a long time, I'm seeing locals not feeling shy about wearing Hawaiian prints,' she said, speaking from Honolulu. The trend is expected only to get bigger when the big budget romantic epic 'Pearl Harbor,' starring Ben Affleck, opens next year.
+Now, though, Mr. Kirsten predicts that tiki 'will have a glorious comeback and then fade away again.' He says he hopes the remaining Polynesian restaurants don't go the way of Trader Vic's and Hawaii Kai, both late of Manhattan. 'I'm not a revivalist,' he said. 'I don't think tiki should be resurrected the way it was. It can't, because there's not the same sense of naivete that there was in the 50's about Polynesian culture. But what's here should be preserved and enjoyed for what it was.'
+When Kahiki closes its doors in August, it is expected that its contents will be saved and the building razed. Where an aloha-shirted bartender is dispensing Pina Passion potions today, a white-coated Walgreens pharmacist may be filling Viagra prescriptions next year. Tiki News is planning a farewell party to bid Kahiki aloha. 'It's going to be a historic tiki event,' Mr. von Stroheim said. 'Unfortunately, closing restaurants are the only historic tiki events I've been to in my lifetime.'
+DESIGN NOTEBOOK"
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+Phil Alongi was eager to share a view of the Democratic convention from his favorite perspective. 'Over here,' he said excitedly, motioning to a temporarily uncrowded corner on the convention floor near the Tennessee delegation. 'I want you to get the whole effect.'
+Mr. Alongi, senior producer of special events for NBC News, directed his gaze out across the floor and up at the object of his aesthetic affection: the NBC sky booth. Indeed, the two-tiered structure, painted 'NBC red' -- a custom blend of 87 percent red, 12 percent yellow and 1 percent blue -- and outfitted with decorative flaps and balcony, was a thing of grand theatrical charms. The Graceland, if you will, of convention anchor booths.
+'It's supposed to make you feel: 'Here we are, America. We're bringing this into your homes. We've swung open and we're here,' ' Mr. Alongi said. 'The flaps, they're to create a feeling of openness, so that the front of the booth flares out.'
+And what of that attached balcony, with the railing that could have been pried off a beach house in Malibu? 'Remember,' Mr. Alongi advised. 'It's L.A.'
+If the role of the contemporary political convention has undergone a radical transformation, from procedural forum to multimedia spectacle, so has the role of the modern network skybox. Once little more than a spartan cave from which the likes of Chet Huntley or Walter Cronkite could look out over the convention floor and point out the party chairmen from Cook County and Brooklyn, the booth has become a statement unto itself.
+Even the most cursory look up from the floor of the Staples Center, where the Democrats conclude their proceedings tomorrow night, provides a sense of how many different statements a sky booth can make.
+Clustered together at one end of the arena, the network booths make for an eclectic, disposable village, one that is built at great expense, inhabited for a week, and torn down.
+'It's the only time I've designed and built something that nine days later is gone,' said David Rasche, the Chicago architect who designed the booth to house the arena studios for NBC and its sister operations, MSNBC and MSNBC.com. 'It's there and it's gone.'
+The broadcast networks may be scaling back their coverage, conceding to cable the task of gavel-to-gavel attention, but the conventions remain such crucial showcases for exhibiting reportorial and technological know-how that the competition over booth design has actually grown more intense.
+NBC, in fact, points out that it won an American Institute of Architects award for its booth at the 1996 Democratic convention in Chicago, designed by Mr. Rasche's firm, Valerio Dewalt Train Associates.
+The $500,000 booth apparently caused a stir; The Chicago Tribune's architecture critic observed at the time that 'the booth's size, color and sculptural form make it look as if it's about to take off from its lower-skybox-level mooring' and added that it 'set off a serious case of booth envy among the other networks.'
+The networks declined to say how much they spent on the booths this year, but one news executive said the overall cost to a network of covering a convention runs as high as $5 million.
+'I think our anchor booth is very futuristic, and I guarantee you when you look up there, the brightest sign is 'ABC News,' ' said Roger Goodman, vice president of special projects for, yes, ABC News. The ABC sign is, in fact, a departure from convention wisdom: unlike the 'light boxes' that other networks use to flash their logos, ABC has affixed an electronic 'video wall' to the booth and installed behind it a smaller one beaming the company's signature revolving globe.
+The ABC design is a concession to fiscal reality. (Unlike other networks, ABC's control room is not on-site but remains in New York City.) And just as unusual, ABC uses the booth more as window dressing than as the centerpiece of its programming. Peter Jennings is doing the news from the convention floor and from a suite just off the floor, and the convention background is added by computer.
+'We wanted Peter to have access to the floor for more accurate and better-quality reporting,' said Marc Burstein, executive producer of special events for ABC News.
+The network booths do indeed seem to shout 'Look at me!' whether the sentiment is reflected in the neutral-toned, scallop-windowed sleekness of the CNN sky booth, or the modular spareness of the double-decker CBS shelter, painted a traditional CBS lapis blue. (Only the PBS skybox has more modest ambitions, advertising itself with a simple sign that seems to whisper, 'NewsHour With Jim Lehrer.')
+'We wanted a clean, high-tech contemporary look,' said Gary L. Bastien, the Irvine, Calif., architect who designed the CBS booth. 'The approach was that CBS is such a cutting-edge media-type company, and that's what we wanted to symbolize.' (If you call 'Survivor' cutting edge, and they probably do.) To make the facade as dynamic as possible, Mr. Bastien said, 'we used angular forms and up-lighting.'
+What the scenic and production designers have to do is rapidly turn basic sports-arena skyboxes into customized television studios.
+NBC, for instance, will convert the booths back into skyboxes in nine days. Some networks combine two and even three adjacent boxes to accommodate their sets and anchor desks; others make use of skyboxes on top of each other for a vertical effect.
+The quarters are tight: from floor to ceiling measures only seven and a half feet, and the network specifications for camera-readiness are precise down to the glare-free angle of the booth windows overlooking the convention floor.
+'We had to be concerned with how you put in a piece of glass without a seam in it that is 24 feet long and 7 feet high and is angled precisely at 14 degrees, so you don't have a reflection,' Mr. Bastien said. 'It can't be 13 degrees and it can't be 15. It's something over the years that they know that works.'
+The designs so mimic the demands and constraints of outdoor architecture that the networks even seek variances from the convention planners to add to the dimensions of the boxes, as if they were summer bungalows getting new decks. Both NBC and CNN, for instance, extended the booths three feet into the hall to give the anchors more elbow room.
+'This is really a case of form following function,' said Craig McMahon, CNN's director of production design.
+That does not mean, however, that there is no room for imagination. The bay windows in CNN's gleaming horizontal booth, designed by Rene Lagler, a veteran set designer for television who created the podium for the Democratic convention, are intended as a visual echo of the rounded style of the twin anchor desks occupied by Larry King, and Bernard Shaw and Judy Woodruff.
+There is, of course, only so far a designer can really experiment at an event so richly evocative of all things traditionally American. Stars and stripes tend to get a heavy workout in the patterns chosen for the sets and backdrops in the booths.
+Victor Paganuzzi, the production designer for CBS and a veteran of 13 conventions, said the color scheme is pretty much a foregone conclusion.
+'I've always felt,' he said, 'that red, white and blue is perfect for the occasion.'
+DESIGN NOTEBOOK"
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+'MAKE nice,' urge the banners flying near Madison Square Garden, where some 5,000 Republican delegates will meet next week. But those who venture farther may encounter a different message, in the form of graphically brazen, un-nice-making posters protesting Republican administration policies.
+Indeed, this is a big year for protest graphics, one of the oldest art forms in the United States and one that is booming thanks in part to the Internet, which makes distributing the images easy and cheap. Artists of many political hues are using the medium, drawing imagery from history and pop culture alike.
+One poster shows President Bush with a Pinocchio nose, the work of Melina Rodrigo, a 25-year-old freelance graphic artist. Another shows an elephant taking cash in through one end and emitting bombs from the other. Some messages play off familiar images like Milton Glaser's 'I Love New York' design, the MetroCard and the 'Star Wars' logo (modified by one artist, Eric Brown, to read 'Stop Wars'). Then there is a poster with George Bush in the role of King Kong atop the Empire State Building.
+When printed on newsprint and slapped on buildings with wheat paste in guerrilla postings on city streets, the posters evoke conventions past, notably the Democratic National Convention in Chicago in 1968.
+But there is a difference. 'Web distribution makes these images national and not just a New York thing,' Ms. Rodrigo said.
+Carol Wells, the director of the Center for the Study of Political Graphics in Los Angeles,with 50,000 images the country's largest political art collection, also credits the Internet for the spread of such art. 'You can move images around the globe without being able to draw,' she said. 'People can print them, and that cuts costs.'
+Some 50,000 posters, in 19 designs, are distributed by a collective of young designers and students called the No RNC Poster Project (www.visualresistance.org). The images, also used on stickers, were chosen from submissions by 150 artists.
+Among them are some by Ms. Rodrigo, who grew up near Woodstock, N.Y., and says her interest in protest art was awakened in high school when an English teacher encouraged her to compare social conditions in 'The Grapes of Wrath' with those in New York, using pictures instead of text.
+Printed in tabloid newspaper format, the posters are handed out at two bookstores, MayDay (155 First Avenue, at Ninth Street) and Bluestockings (172 Allen Street, between Stanton and Rivington Streets).
+The artists say they have no deep-pocket sponsors. Several donated their originals for an Aug. 14 fund-raiser in an office in Manhattan, where they were sold for $5 to $30. Many of the artists met for the first time at the event. Ms. Rodrigo sat on a sofa beside Noah Mayers, the creator of a poster called 'The Greatest Scam on Earth,' looking through a book of circus posters, an enthusiasm they share.
+Ms. Rodrigo does all her work by hand, then scans it. 'People are bombarded with so many images,' she said. 'The handmade quality of the posters contrasts with slick corporate advertising. It's fresh.'
+Opposition to the president (and before that to the Iraq war and globalism) have not only helped revive the traditions of political graphics but have also led to a new appreciation of past campaigns.
+From Phaidon Press comes 'Graphic Agitation 2: Social and Political Graphics in the Digital Age' by Liz McQuiston. 'Peace Signs,' a book of antiwar graphics edited by James Mann, is published by Edition Olms in Zurich. The MIT Museum offers 'Telling It Like It Is: Student Activism at MIT During the Vietnam War: 16 Posters,' and at the Stay Gold Gallery in Williamsburg, Brooklyn, is an exhibition of recent antiwar images, 'Yo! What Happened to Peace?' (through Sept. 5).
+A Pittsburgh group, the Partisan Project (www.partisanproject.org), offers more polished examples of the art, with images by Michael Bierut of Pentagram, Art Chantry and others. 'The right's visual communication tends to be 'God bless America' or 'It's a child, not a choice,' ' Mr. Bierut said. 'Oddly, George W. seems to work much better as a punching bag than as a poster boy.'
+For a nonpartisan message, the American Institute of Graphic Arts is offering its own get-out-the-vote posters (www.aiga.org/content.cfm/getoutthevote).
+Whether protest art can persuade is another question.
+'Political graphics have many audiences,' Ms. Wells said. 'One is the converted, to rally them to the cause. Another is the undecided. You may not convert, but you can make someone look at things differently.' She cites four street posters that mocked an Apple I-Pod ad to draw attention to the Abu Ghraib prison scandal, by Forkscrew graphics (www.forkscrew.com).
+Richard Grefé, the executive director of the American Institute of Graphic Arts, said: 'In the 60's, the opposition was willing to be outrageous to attract a constituency. Now, we have an electorate that is evenly split. So the question is: for whom are these posters? If they are to be anything but an expression of the group that creates them, they must influence the undecideds. And the question is whether you can do that effectively when you show this level of passion.'
+Putting up posters without permission violates city ordinances. Posting them has long been a minor form of civil disobedience. The No RNC Poster Project issues ritual reminders that it does not support illegal posting, though artists have been known to slip posters into the frame reserved for advertising in subway stations and cars.
+Scott Sala, a Republican with a blog called Slant Point, urges citizens to report illegally posted protest graphics to city officials and offers on his Web site a downloadable version of the official city complaint form (www.slantpoint.com/mt-arx/001589.html).
+Not that other points of view are unrepresented. At the Republican convention, the Republican National Committee's Web page notes, will be some 35,000 signs celebrating the president, handpainted by volunteers at parties across the country (seen at www.gopconvention.com/contents/newsroom/events/signpainting/). A group of four friends came up with W ketchup, 'an alternative to Heinz,' said one, Bill Zachary, advertising their brand in the National Review and selling online (www.wketchup.com).
+Which images will endure? At their best, the protest posters of the 1960's, notably those by the famous Atelier Populaire in Paris, possessed the paradoxical timelessness and immediacy of early Bob Dylan. In 1968, Mark Kurlansky writes in '1968: The Year That Rocked the World' (Ballantine 2004), collectors tore posters from the walls.
+Two museums promptly mounted exhibitions of them -- as art.
+DESIGN NOTEBOOK"
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+FEW outsiders were ever allowed into the private world of Renzo Mongiardino. Friends and family perhaps, or an associate or two, would join the legendary interior designer quietly, for long evening talks or small dinners at his richly moody apartment in Milan. Otherwise, Mr. Mongiardino, who died last year at 81, lived a life of scholarly solitude, surrounded by books, busts and brocades, attended only by an elderly and singularly uncommunicative Sicilian housekeeper, who sat in the kitchen, a stern figure in penitential black, silently darning the maestro's socks.
+The mystery ends tomorrow for admirers who have seen Mr. Mongiardino's work only in photographs in glossy shelter magazines or books like 'Roomscapes' (Rizzoli, 1993), the professional memoir he wrote in collaboration with an associate, Fiorenzo Cattaneo. The reason for all the excitement in Milan next week will be the annual furniture fair, but many of the visitors to that ground-zero event will be making a pilgrimage to the dour Palazzo Crivelli, 12 Via Pontaccio, in the center of the city, where Mr. Mongiardino's old-fashioned genius is being feted.
+A Milanese auction house, Il Ponte Casa d'Aste, has transformed five rooms of the 18th-century palace
+into an evocation of Mr. Mongiardino's apartment, from the gas-blue Genoese wallpaper in his bedroom to the massive bookcases in his study. The sixth room in the show is a re-creation of a neoclassical room he designed for an Italian client.
+The exhibition opens to the public tomorrow and runs through Monday, and will be followed on Wednesday and next Thursday by an auction of Mr. Mongiardino's possessions on display. The 697 lots range from a half-dozen 19th-century earthenware busts (estimate: $445 to $665) to an Empire-style stool with crossed-sword legs ($4,450 to $5,540), designed by Mr. Mongiardino in the 1940's after one in the Louvre. Information about the sale and show can be had by calling (011) 39-02-72003749.
+'This is a celebration,' said Roberto Peregalli, a former Mongiardino associate, who conceived the pre-sale show with his partner, Laura Rimini, a young architect, as a testament to their mentor's powers.
+Even the more eyebrow-raising ones.
+In an age when the high-octane decoration of the past seems to have taken a back seat to do-it-yourself home improvements, it is surprising to learn of a master decorator whose palatial romanticism was partly born out of felt-tip pens, burlap and cardboard. The art of magic, visual and material, was Mr. Mongiardino's forte, the foundation of his reputation as the world's greatest decorator.
+Painted effects were especially associated with the designer, who had a fondness for the Mannerist movement of early Renaissance Italy, an era of exaggeration and artifice, when a monumental surreality reigned supreme. His artisans used paint to create rooms seemingly made entirely of ceramic tiles, of fragments of Turkish carpets, of terry-cloth draperies swagged a la ancient Rome.
+For Peter Jay Sharp, a New York real estate mogul, Mr. Mongiardino, Mr. Cattaneo and an army of Milanese artisans reinterpreted a 15th-century room paved in the wood mosaic known as intarsia. But the thousands of pieces in Mr. Sharp's wall-to-wall panorama of Manhattan skyline are actually paint on cheap pine boards.
+'Any story can be reality if you feel that it is,' Mr. Peregalli said. 'For Renzo, it was the same for a house.'
+And that soulful sense of fantasy is the reason that design sophisticates flocked to his studio, a group of jet setters once described as 'a kidnapper's wish list': Baron Guy de Rothschild, the banker; Rudolf Nureyev, the ballet idol; Lee Radziwill, the American socialite; Gianni Versace, fashion's bad boy, and Randolph Hearst, the publisher.
+Mr. Mongiardino's singular esthetic -- intensely romantic, vaguely exotic and as atmospheric as the rooms described by his favorite novelist, Honore de Balzac -- can also be seen in New York at the Carlyle Hotel, once owned by Mr. Sharp. In 1989, under Mr. Mongiardino's direction, the late Gaser Tabakoglu redecorated the lower and upper galleries with kilim-carpet banquettes and walls covered in hand-painted paper inspired by the decorations of the 17th-century seraglio at the Topkapi Palace.
+Not every tycoon, however, fell under the spell of Mr. Mongiardino's spectacular tomfoolery. A decade or so ago, the new owner of an English country house that Mr. Mongiardino had decorated was appalled to discover that his study was not lined with dozens of panels of ancient flaking Cordova leather but with artfully painted, gilded and aged cardboard. Horrified by the subterfuge, the chatelain ordered his new decorator to remove it immediately.
+'Mongiardino was a magician, a maitre de scene,' said Mr. Peregalli, who calls the designer 'my Socrates.' 'He didn't adhere to the alphabet of the past. Instead, he brought the past into the future. He thought it was possible to continue the artisanship of earlier centuries by using new techniques and materials to evoke a moment in time but without reproducing it exactly.'
+Though he was able to recall the details of obscure ceilings in even more obscure Italian villas at a moment's notice, Mr. Mongiardino was neither an academic nor a curator. A designer of theater and movie sets by profession -- his work for the 1967 Franco Zeffirelli movie, 'The Taming of the Shrew,' which starred Elizabeth Taylor and Richard Burton, was nominated for an Academy Award -- Mr. Mongiardino was an intellectual trawling history for flotsam and jetsam that were the raw ingredients of his cocoonlike rooms.
+Minimalism was not part of his vocabulary. 'It is easier to create the full room than the empty one,' he wrote. Like his friend and fellow esthete Mario Praz, Mr. Mongiardino had a weakness for the past, the dustier and more cluttered, the better.
+' 'Make it more like Proust, more like Balzac, more like d'Annunzio,' ' Mr. Peregalli said, recalling his late boss's literary-minded directives to his staff. Mr. Mongiardino grew up in the splendor of a Genoese palace owned by his father, a theatrical impresario who introduced color television to Italy, and it was this house, with its shadowy spaces, glinting gilt frames and mysterious scents -- dying lilies, faint feminine perfumes, a bit of wet dog -- that infused his work.
+Strangely, for all the glamour associated with Mr. Mongiardino, there is a sadness and isolation -- or self-reflection -- that permeated his creations, a quietude that evoked 'the corrosive breath of melancholy,' Umberto Pasti, a friend of designer, wrote in the auction catalogue. His rooms were grand, certainly, with all the chandeliers and damasks that the word implies. But as the exhibition at the Palazzo Crivelli will doubtless prove, there was also a darker side to the designer's vision, a sense of something left unfinished, unanswered.
+Mr. Mongiardino's spaces -- his own and those created for others -- are expectant, waiting for something momentous to happen: a knock at the door, a love letter read with a shaking hand. To stand in one is to be a protagonist in an unfolding drama, in a theater without a stage or audience.
+Few details of Mr. Mongiardino's personal life are known, outside of a youthful liaison with his mother's maid that resulted in the birth of his only child. In his catalogue essay, Mr. Pasti refers pointedly to an unpublished short story that Mr. Mongiardino  wrote in the 1940's and apparently continued to revise until his death. It is the tale of a manservant driven to suicide by his homosexual desires in a palazzo identical to the one of the designer's Genoese childhood, a place, Mr. Mongiardino wrote, 'where the crystal chandelier sparkled, reflecting the sun's last rays, which the terrazzo floor gathered into small pools as the rest of the room sank into darkness.'
+While it might be simplistic to sift the meaning of his decorative vision through the prism of sexuality, he was nonetheless conscious of the importance of the sad gentility of that house on his work, especially its entrance hall, its heart, where his mother took tea, his father exercised, and Mr. Mongiardino and his elder sister played games.
+'My love for architecture probably was born in that room, and without realizing it, I understood that everything in our lives takes place within a space that surrounds us, therefore within architecture,' he once wrote. 'Even when we are in the woods, the woods are our architecture; the light that passes among the trees is the same light that illuminates the chandelier of my childhood.'
+For a few days this week and next, in Milan, the chandelier of the designer's childhood will scatter the sunlight again, before being finally extinguished, one bust and chair at a time, until, in the end, nothing will be left, and the salesrooms of the Palazzo Crivelli will be empty. Paradoxically, it is the sort of poignant moment that Mr. Mongiardino might have used as a creative springboard. 'Make it more like me,' he might have said. 'Make it more like me.'
+DESIGN NOTEBOOK"
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+THERE are places architects fear to tread, and suburbs that are chockablock with colonials, ranch houses, McMansions and good-taste design committees often give them pause. 'I didn't think there was anything you could really do in the suburbs,' said Doug Garofalo, a Chicago architect. 'All those cliches about how everybody is wealthy, white and conservative, with two and a half kids and a dog, weren't encouraging.'
+Mr. Garofalo, 41, helped design one of the most radical structures recently built in New York, the computer-generated, amorphously shaped Korean Presbyterian Church in Sunnyside, Queens. In the leafy suburbs of Chicago, he might have expected a sort of autoimmune reaction to his designs. But the suburbanites who have come calling on his firm haven't played into the Ozzie and Harriet stereotype befitting an Eisenhower era, marshmallow-salad neighborhood. 'They are first-generation, self-made immigrants -- Polish, Thai, Chinese, Ukrainian entrepreneurs used to taking risks -- and they're not here to fit in and disappear,' he said. 'They had no interest in Cape Cod or any other vernacular style. That isn't their culture; they all had progressive attitudes. They didn't want to just melt into the pot.'
+His clients, Andrew and Aleksandra Markow, for whom he designed a new version of their home in Prospect Heights, defied the suburban stereotype. 'I don't mind having Georgian and colonial houses around me, but that's not my style,' said Mr. Markow, a contractor who was born in Poland. 'America is more conservative and less contemporary than Europe, especially in the Midwest. We're a little behind here.'
+A street-side view of their remodeled 2,000-square-foot, three-bedroom split-level house reveals a large, angular, two-story prism, plain and abstract, rising out of its own sloping shadow. The split-level roof is dog-eared up at one corner, to accommodate a high window. With another (yellow) Dryvit wing hovering over the garage to the left, and a glass entryway in between, the facade owes much to Hans Hoffmann. Something has happened here.
+Mr. Markow began cultivating an interest in contemporary design as a teenager in Poland. 'Except for Frank Lloyd Wright, I didn't really find a modern style here,' he said. 'And American colonial doesn't speak to me.'
+Twelve years ago, he gave up his position as a biochemical researcher at Northwestern University to start his contracting company. 'Somewhere deep inside was a love for design, and becoming a contractor was a way of getting closer to the field,' he said. His wife, also a chemist, left the lab to raise their two young children.
+They had extended the original house into the rear yard in the early 1980's, but the spaces inside remained small, closed and surprisingly dark. 'Coming home every day was kind of boring,' Mr. Markow said. Several years ago, with the birth of their second child, the couple decided they needed larger, brighter bedrooms for the children, along with a playroom, another bedroom and a music room that would double as a home office. They were ready to trade in their tidy but conventional version of domesticity for something bolder. Mr. Markow would act as his own contractor, but he needed the right design.
+The Markows decided to think outside the box. They wanted to open up the dark middle of the house to get more light and to create a central gathering space. But that gathering space would displace the bathrooms, pantries and laundry often parked in the middle of a house.
+Remembering Mr. Garofalo from a project he had worked on a decade ago, Mr. Markow approached the architect with his ideas. 'I noticed that the diagonal views down the street across the fronts of houses were really pretty nice,' Mr. Garofalo said. So he oriented his two-story addition to the side yard, which guaranteed a sunny south exposure. To do so, however, meant they would have to tear down the upper bedroom portion of the split-level house.
+Adding to suburban houses has been a national pastime since America's first suburbs were built. Usually, the houses are left picture-perfect in front, while sprouting casual additions in back. The Markows had already added in the rear, and Mr. Garofalo liked that their intervention wasn't seamless: the horizontal ranch-style dormers in the back didn't match the lines of the original split level. Aiming for gothic eccentricity rather than classical unity, Mr. Garofalo built on the irregularity. Taking the mismatched roofs as a point of departure, he developed the existing set of discordant dormers into a choppy topography of cresting gables. He folded and hinged the sloping planes into a set of butterfly roofs.
+'We liked that hybrid quality of the house facing the backyard and wanted to keep it, but we had to think of a way to glue it all together,' Mr. Garofalo said. 'The roof was the opportunity. If you squint, you can still see the shapes relate to the surrounding roofs, with their valleys and gables, though ours evolved into a system closer to a landscape than a traditional roof.'
+The architect structured the turbulent roofscape with a thin steel truss system inside; the trusses support a ceiling whose complex faceting follows the roof topography. Midway through completion of the production drawings of the house, Mr. Garofalo started using computers with animation software, which confirmed the idea of connectivity and fluidity in the roofscape. The structure looks like a Cubist's interpretation of a house of seven gables.
+'With their interest in bringing in light, Andy and Aleksandra were adamant about opening up or removing sections of the existing house,' Mr. Garofalo said. 'So we started thinking of perforating the house at all levels right away.' The architect likens the porous quality of the house's interior to ancient Indian houses, with their subtle, continuous gradient between public and private spaces. He was socializing the interior of the typical suburban house by blurring its boundaries. He also choreographed a steel-and-plexiglass ramp and bridge that wind their way  over the central space to the music room at the peak. This large central living 'tube' gives the house a large-scale open room at its core. Thinking big paid off with a heart space, an indoor piazza, onto which all other rooms flow.
+The Markows were able to bring this unconventional renovation in for $100 a square foot, for a total of $275,000. 'We really searched for the best products and prices, and made big savings,' Mr. Markow said. 'I didn't ask Doug to do this, because it takes a lot of time.' The couple called dozens of companies for competitive prices on the glass entry doors. They originally planned to put Kalwal translucent windows on the ceiling, but found a Wisconsin company making a similar window for 25 percent less. 'That saved us $3,000 or $4,000,' Mr. Markow said.
+Mr. Garofalo had specified a Swedish prefinished floor called Karss, 'but we were able to find a really great prefinished floor out of Finland for $4.50, rather than $8 or $9,' Mr. Markow said. 'And we really didn't sacrifice quality.' The couple also went through hundreds of catalogs for lighting and furniture, consulting the architect on final choices.
+'As a contractor, I know where to hunt,' said Mr. Markow, who used Sweet's Catalogue, the Building and Construction Blue Book and the annual Architects' First Source for Products. 'We searched through a lot of magazines, also a great source, and we did some research on the Internet,' he added.
+And the neighbors? 'The guy on the other side of the street, who just remodeled his split-level into a Georgian, said that he loved it,' Mr. Markow said. 'Our new design is something different on the street that really strikes people. And inside, there's always something interesting going on with the sunlight. I never feel bored.'
+The unusual structure now recalls an earlier era when Chicago suburbs welcomed architectural experiments. Frank Lloyd Wright designed many of his masterpieces in nearby Oak Park, and the locally famous Keck brothers (building as Keck & Keck from the 1930's through the 1950's) did suburban houses that gestured to the landscape. Before formulas set in, suburbia was the petri dish.
+DESIGN NOTEBOOK"
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+IN the early 1990's, after his wife's death, the legendary architect Morris Lapidus found himself staring at a calendar white with blank dates. The designer of Miami Beach's Fontainebleau and Eden Roc hotels, Mr. Lapidus, then in his early 90's, had retired from active practice and was sitting alone in his ocean-front duplex, bored.
+In 1994, after serving on a review panel for work by architecture students, he had lunch with a fellow juror, Deborah Desilets, and more lunches. 'He was so removed from professional life,' she said. 'I realized that he had so much to give that it would be a shame not to find some way to make it happen.' Eventually they formed an informal partnership, taking him from deep retirement to shallow retirement. Now, at 97, he is back in business, sketching.
+With Ms. Desilets, 41, he has conceived a new hotel for Miami Beach, which is awaiting financing, and several stores for Roots, a Canadian clothing chain. Yesterday, their new project, Aura, a restaurant, opened on Lincoln Road in the Art Deco district. Sitting in the immutable apartment he designed here many years ago, Mr. Lapidus said with the groomed voice of a gentleman from the old school, 'After I met Deborah, things got interesting again.'
+Before he was America's pre-eminent hotel designer, he was the country's pre-eminent store architect. He has shaped the restaurant to entice customers inside. 'I hate the box, so all of my stores have undulating curves and lines,' he said. 'The curves get almost psychedelic.'
+The curves sweep people into a bath of red, orange, pink and aqua. Mr. Lapidus has used his signature free-form shapes to conceal lights throughout the restaurant, which has 1,900 square feet and 60 seats. Aura is named after the glow.
+He is quick to credit his collaborator, Ms. Desilets, an architect, who develops his preliminary designs. 'Some people keep wondering what this old man is doing with this young woman,' he said. 'She makes the work possible. She's an excellent draftswoman. The details of architecture don't interest me anymore. I depend on her. She edits me. I want to design, but that's all I want to do.'
+With her assistance, Mr. Lapidus began lecturing across the country. The lectures in turn led to the first of the new commissions. 'Mr. Lapidus knows how to give emotions physical form,' she said. 'His space swirls you; it prompts you to move; it's an interactive architecture.'
+As in his hotel designs, there's hardly a straight line in the restaurant plan. Many people see only the decoration in Mr. Lapidus's work and are unable to appreciate the brilliant complexity of the plan. 'A lot of interlocking forms, one curve moving in and another swinging out in the opposite way,' he said. 'People don't move in straight lines like an army -- they meander. So, my plans meander. At the Fontainebleau, I used everything. Normally, an architect would do plans, and the drapes would be done by somebody else. I wanted to do it all, and I did.'
+Aghast at the dripping chandeliers and swag curtains, critics bashed the Fontainebleau and his other hotels. 'The International style had taken over,' he said. He recalls what Serge Chermayeff, a Yale professor and Museum of Modern Art consultant, once said, 'You can like Lapidus's work, if you're blind.'
+But others didn't rush to judgment. 'Philip Johnson said years ago that he'd like to wait and see,' Mr. Lapidus said. 'When we had lunch about three months ago in New York, he embraced me and said, 'You're the father of us all.' It's a very pleasant memory.'
+Mr. Lapidus, who trained at Columbia when Beaux-Arts decoration was integral to the curriculum, straddled traditional and Modernist architecture. When critics ostracized him, he was deeply hurt. The bitter architect sent truckloads of drawings to the incinerators when he closed his office in 1984.
+'Mr. Lapidus was an intuitive designer doing emotive architecture at a time when architecture required a reason for everything,' Ms. Desilets said. 'The architectural fishbowl was too small for him to breathe in.'
+Now, Mr. Lapidus enjoys the pulpit. 'I've been rediscovered,' he said. 'And the attention I'm getting, it's very pleasant, as if people never knew me. At first I defended myself, but now I don't.' He believes that his kind of architecture appeals to people, and has always appealed.
+Today, he will work with only Ms. Desilets. 'The only enjoyment I have now is my lecturing and the chance to do some designing with Deborah,' he said.
+Ms. Desilets said, 'Once we realized that the mind has no age, we've had a raving good time.'
+DESIGN NOTEBOOK"
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+FISSURE. Cracking. Collapse.
+Those were the distressing words -- the ones no architect, engineer or builder ever wants to hear -- that filled news accounts of a disaster early Sunday morning at Charles de Gaulle International Airport in Paris, where part of the new Terminal 2E gave way, killing four people.
+But there was another word buried just under the surface of those early reports: hubris. In their descriptions of the elliptical concrete, glass and steel terminal's 'ultramodern' and 'futuristic' design, journalists were at least implicitly making the case that its French architect, Paul Andreu, and his structural engineers might well turn out to be the primary culprits in its collapse.
+In fact, by Wednesday, French officials were speculating that the blame would ultimately be laid, instead, at the feet of the contractors.
+'When incidents like this happen, the press loves to trot out this morality play suggesting that the reason for the disaster is that the architect wanted to do something new or unusual,' said Terence Riley, chief curator of architecture and design at the Museum of Modern Art in Manhattan.
+He added that after four workers were killed in the collapse of a garage at the Tropicana Casino and Resort in Atlantic City last fall, a building with much more straightforward design than Mr. Andreu is known for, 'nobody thought it had been caused by the architect.'
+Though new technologies or design strategies have sometimes led to problems, the results have rarely been deadly. The windows falling in 1973 from the John Hancock Tower, built by I. M. Pei & Partners in Boston, got huge amounts of press attention, but killed no one. And when Foster & Partners' Millennium Bridge in London began swaying after it opened in June 2000, thanks to what engineers memorably called the problem of 'synchronous lateral excitation' caused by pedestrians, plenty of people were nauseated, but no one was injured.
+Mr. Andreu's design for the collapsed terminal relies in part on systems that are used in tunnel construction rather than in airports. Still, the terminal hardly looks daring compared with the feats of gravity-defying fancy that architects and engineers, aided by powerful and flexible software, are pulling off with regularity these days.
+Buildings by architects like Frank Gehry and Rem Koolhaas, whose angular public library in Seattle opened last weekend to rapturous reviews, are upping the ante, leading the public to expect jaw-dropping engineering of one type or another in practically every major new building. At the same time, the engineers that make those swooping or cantilevered designs possible are themselves gaining a higher profile. Cecil Balmond, an engineer who often works with Mr. Koolhaas, has published his own stylish monograph, while the work of Guy Nordenson, an engineer based in Manhattan, has gained a following.
+The trend is perhaps best epitomized by Santiago Calatrava, the Spanish architect who is also trained as a civil engineer, and whose buildings, including a planned transit hub at the World Trade Center site, often include anthropomorphic moving parts.
+But all has not been rosy lately in the land of daring architects and their engineering partners. Mr. Nordenson is no longer part of the design team on the Freedom Tower at ground zero, a job that promised to raise his profile even higher. Mr. Calatrava, too, has seen his star dim a bit: his new roof for the main Olympic Stadium in Athens is only half complete and has become an unfortunate symbol of the city's rush to overcome construction delays as it gets ready for the Games this summer.
+Now the collapse of Mr. Andreu's airport terminal seems to be adding to the perception that high-design solutions can sometimes make for little more than expensive experiments. In truth, most cases of building collapse have nothing to do with how innovative the architecture is, said Leslie Robertson, who was a chief engineer of the World Trade Center towers.
+'When problems occur, it's usually in the interface' between architects, engineers and contractors, he said. In other words, it is in translating the design from one office to the next that mistakes are amplified and become deadly. 'Seldom can one say with any certainty, 'That's it, that right there is where the trouble happened,' ' he added.
+No matter what the investigation into the collapse ultimately reveals, said Jon Magnusson, chairman and chief executive of Magnusson Klemencic Associates, a structural engineering firm in Seattle, 'It can't solely be the architecture.'
+'Every structural engineer has a duty,' he said. 'If the architecture doesn't allow you to do something that needs to be done to keep the building up, you must stop.'
+Mr. Andreu is one of the world's most prominent airport designers, having worked on dozens of such projects. He has also designed a new Chinese national theater in Beijing. Chinese officials said the Paris collapse would not affect plans for the theater.
+If they had decided to scale back the project, though, it probably would not have come as a shock. We have always asked architects to help push the boundaries of art and science but turned on them, even when they were not fully, or even partly, to blame, when we feel buildings have put us at risk.
+The most telling case is probably that of the 13th-century Gothic cathedral in the French city of Beauvais. Anyone who has taken an architectural history course will recall the story of that cathedral, whose highest vault fell in 1284. Plenty of historians have blamed the collapse on overly bold design, peppering their accounts with architects who 'rushed' into the sky.
+But Marvin Trachtenberg, a professor at New York University, said the evidence actually suggests a more mundane problem. The vaults fell, he said, 'because there was a miscalculation in the buttressing, an eccentric placement of key supports.'
+In other words, the cathedral gave way not because the architects tried to go too high or because they were experimenting with new forms, but because they failed to properly apply structural knowledge they had used before, with predictable success. Perhaps this will turn out to be what happened in the same country exactly 720 years later.
+DESIGN NOTEBOOK"
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+TREND-WATCHERS, take note: Lockwood de Forest may be big. Very big.
+De Forest, a turn-of-the-century artist and designer who rose to eminence, then sank into obscurity, is now on the brink of rediscovery. A Manhattan gallery recently featured some of his oil sketches. A desk embodying his design philosophy is part of an exhibition on Orientalism at Williams College in Massachusetts. The Indian-style interiors he championed are being echoed by hip designers like Muriel Brandolini and Lulu Kwiatkowski. And in this Hudson River Valley village two hours north of New York City, furniture and architectural elements he produced have been brought together by the filmmakers Ismail Merchant and James Ivory in what must be his first one-man design show since the 1893 World's Columbian Exhibition.
+Scion of a New York clan whose family tree blossoms with myriad lawyers and the occasional flamboyant -- a great-uncle was the painter Frederic E. Church, and a great-niece was the Warhol superstar Edie Sedgwick -- Lockwood de Forest was a pivotal member of Associated Artists, a short-lived design firm founded by Louis Comfort Tiffany.
+Its specialty was self-conscious splendor, exotic interiors that were one part ABC Carpet & Home, one part 'Arabian Nights.' Brass lanterns hung from stenciled ceilings. Persian carpets were flung over harem-style balustrades. Fireplaces glimmered with Moorish tiles. And thanks to a woodcarving studio that de Forest discovered in Ahmadabad, on the Arabian Sea coast of India, his trendy ensembles for clients like the Baltimore & Ohio Railroad heiress Mary Garrett and her lover Martha Carey Thomas, a president of Bryn Mawr College, incorporated exquisite teak furniture and architectural fittings that resemble petrified lace.
+The eight chairs, two tables, chest of drawers, fireplace surround, two doors, two settees and standing screen in 'Lockwood de Forest' at the Merchant and Ivory Foundation exemplify the top-dollar exoticism that was de Forest's hallmark in the 1880's, the high point of a fitful career that ended when he died in 1932 at 82. Rendered in cinnamon-colored teak with delicately chiseled foliate and geometric designs -- there are a couple of cast-iron firebacks, too -- most of the pieces come from the collection of David L. Petrovsky, who owns an eponymous antiques shop in nearby Hudson.
+On a recent visit, Mr. Petrovsky gazed wide-eyed at the feet of a gleaming armchair produced by Indian woodcarvers working under de Forest's direction. 'Look at those,' he said. 'They look like garlic bulbs with toenails.' Eye-catchingly odd, yes, but no more so than the bizarre finials higher up: the heads of impassive Hindu deities surmounted by sawtooth tiaras. The show, which closes Sept. 4, is one of several marking the 10th anniversary of the Merchant and Ivory Foundation, an arts organization founded by the Oscar-winning filmmakers. Its headquarters are in red-painted gristmill buildings near their Greek Revival house, which have been turned into exhibition and performance spaces.
+'We've never had a show like this,' said Mr. Ivory, whose latest film, an adaptation of Henry James's 'Golden Bowl,' starring Uma Thurman, will open this fall. 'But a couple of months ago, David suggested it, and Ismail and I thought, 'Why not?' De Forest's work is very intriguing, and both Ismail and I are fascinated by everything to do with India, for obvious reasons.'
+Lockwood de Forest was not the only American aesthete of his time who fell under the spell of India, a country that became a pop-culture influence after Queen Victoria became its empress in 1876. But the largely self-taught artist, designer and architect was the most passionately pro-India Yankee of his time, the American equivalent of John Lockwood Kipling, father of the empire-thumping poet and curator of a museum in the Indian city of Lahore (now in Pakistan) in the days of the British Raj.
+Just as the elder Kipling's scholarship led him to create widely admired Indian-style rooms -- a dining room at Queen Victoria's Osborne House on the Isle of Wight and a billiard room for her son the Duke of Connaught at his country house in Surrey, Bagshot Park, now the home of Prince Edward -- de Forest's passion for the Mogul art and architecture of the subcontinent led him to install similar spaces from Ithaca to San Francisco.
+'The 1880's were his glory days,' said Roberta A. Mayer, an art historian, who lives in Hopewell, N.J. De Forest's work was exhibited to acclaim at the Colonial and Indian Exhibition in London in 1886, and at the World's Columbian Exhibition seven years later, attracting an impressive array of clients: the steel king Andrew Carnegie, the transportation magnate Charles Tyson Yerkes, the hotelier Potter Palmer, even Mark Twain.
+Though he did not have a hand in its design, a stylistically related desk by Associated Artists is featured in 'Noble Dreams, Wicked Pleasures: Orientalism in America, 1870-1930,' an exhibition that runs through Sept. 4 at the Sterling and Francine Clark Art Institute at Williams College in Williamstown, Mass. Made of satinwood, brass, pewter and leather, it embodies everything that Associated Artists and de Forest stood for in the late 19th century: Eastern exoticism conjured for Western millionaires.
+De Forest visited India on his honeymoon in 1879, a nearly two-year trip that he turned to his economic advantage, keeping his eye peeled for objects and inspirations that would benefit Associated Artists. In Ahmadabad, he met Muggunbhai Hutheesing, a philanthropist whose woodcarving studio would become crucial to de Forest's career. The studio was only a small component of a family fortune built on some of India's largest carpet and textile factories, as well as on opium trafficking.
+Unlike European Orientalists, many of whom looked upon Asia and the Middle East with colonialist superiority, de Forest wanted to help the cause of Indian woodworkers and preserve traditional Indian arts and crafts, which were being forgotten in the wake of brightly varnished knockoffs being made in Paris. His equally enthusiastic wife, Meta, had her couturier transform cheap Indian cottons into dresses that were the envy of her friends -- until they learned of the fabrics' 'lowly' (i.e., non-Western) provenance.
+'Having committed themselves as to the beauty of the material, it was difficult for them to crawl out of it with either grace or success,' Lockwood de Forest gleefully recalled. 'We had a fine chance to rub their ignorance in, which we often enjoyed doing.' By directing Hutheesing's carvers to copy or adapt centuries-old details from mosques, temples, tombs and mansions --  designs that were used in de Forest's interiors, furniture and accessories, including a wall bracket at Olana, the house of Great-Uncle Frederic -- one small part of India's artistry could continue to flourish, albeit reinterpreted in costly Western settings.
+Part of him had a romantic response to all that beauty, but he was pragmatic, too, Ms. Mayer said: 'He wanted to make his art into a legitimate profession, a way to create beauty and make money at the same time.'
+Unfortunately, de Forest's Indian experiment appealed to a fickle audience too conscious of fads to be loyal to his narrow vision. By the turn of the century, his romantic rooms were passe, a victim of the Francophile chic popularized by Elsie de Wolfe and Ogden Codman Jr. By 1908, he had sold his stock of moldings and furniture to his old friend Tiffany and retired to Santa Barbara, Calif., where he spent much of his remaining life quietly painting. (His son, another Lockwood, would become one of the state's great landscape designers.)
+Apparently, not one de Forest interior survives intact, and even the bits and pieces remaining are not completely appreciated. His teak room for Andrew Carnegie, for instance, still occupies its second-floor spot in the Cooper-Hewitt Museum, the former Carnegie mansion, though its furniture was sold long ago and its carvings are obscured under temporary exhibition walls. As for de Forest's furniture, no one knows precisely how much was produced, a mystery that deepens when it becomes clear that none was labeled or marked, thus making it difficult to distinguish it from the often fine copies produced by competitors.
+But it does show up periodically, often misidentified, at auctions and other, less likely, places. In 1995, Mr. Petrovsky discovered a seven-piece suite of furniture in a consignment shop in New Canaan, Conn. He says that Mitchell Wolfson Jr., founder of the Wolfsonian museum in Miami Beach, recently bought more than 100 pieces of carved teak, each a different pattern and individually numbered, apparently a set of samples that the artist used to guide the Ahmadabad carvers.
+Even with the uncertainty, some of Lockwood de Forest's magic lingers. A house he designed in Baltimore is now an Indian restaurant called the Brass Elephant. His furnishings for Mary Garrett are scattered throughout several rooms in the Bryn Mawr alumnae house. As for the brick town house that de Forest built for himself at 7 East 10th Street between 1886 and 1888, once heralded as the most Indian house in America, it is now the Bronfman Center for Jewish Student Life at New York University. Its extraordinary lacelike interiors have suffered over time, but its teak-bedecked facade, like that of the elaborate Burmese-style Ava apartments next door, is splendidly unaltered, an incongruous reminder of a trendsetter who once reigned in a city that too often forgets.
+The Lockwood de Forest exhibition is open for the next two weekends, Aug. 25 to 27 and Sept. 1 to 4, at the Red Mills gallery, on Route 23 just east of Patroon Street in Claverack, N.Y. Hours: 1 to 5 P.M. Free admission. Information: (212) 586-6014.
+DESIGN NOTEBOOK"
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+A wallop of sugar was added this week to the frothy zabaglione that is the annual Italian furniture fair, where hundreds of editors and thousands of international buyers, manufacturers and designers descend each year to test, compare, cheer or dismiss new products.
+Fearing that the latest sleek samples of minimal elegance and technological wizardry might not sufficiently wow the crowds, fair organizers asked 14 international artists to provide a supplemental jolt of novelty.
+And so on Monday, the eve of the fair's official opening, installations by Robert Wilson, Yoko Ono and Peter Greenaway, among others, were presented within the city's splendid 19th-century Rotonda della Besana.
+Each artist interpreted the theme of 'rooms and their secrets' before an audience of 2,000 -- mostly Milanese hungry for contemporary art.
+There was plenty to ponder. In Mr.  Wilson's installation, a woman dressed like a character from Chekhov staggered around a darkened space where tall columns had been transformed into tree trunks. She reacted sometimes violently, sometimes disconsolately to a voice from her past speaking German.
+Mr. Greenaway, the film director, flooded his space with water from about 10 bathtubs. Open suitcases also overflowed with the stuff of everyday life: bottles, appliances, tennis balls. A naked man sat in one tub while the room filled with steam.
+The Bosnian filmmaker Emir Kusturica imported truckloads of Serbian dirt, cabbages and onions to a bunker recreated from his 1995 film 'Underground,' the story of two friends who go into hiding for a very long time only to find upon emerging that their homeland, Yugoslavia, has disappeared, along with one man's wife. 'There's no place left for secrets; there's only the underground as a place to hide your agenda,' he said cryptically. Mr. Kusturica also performed with a rock band (formed by his son). One observer joked that it sounded like 'a bar mitzvah band.' But many viewers felt the entire art installation, which runs through May 7, was overegging the zabaglione.
+'It's useless,' said Achille Castiglioni, the legendary designer who at 82 remains a vital presence on the scene, as he emerged from a video installation showing two naked bodies struggling to fit into a small cube.  'It's trying to be experimental, but it makes no real point that I can see.'
+The sideshow hardly seemed necessary, what with the Italian furniture business thriving, with roughly $101 million in sales to the United States alone for 1999, an increase of about 6 percent over 1998. About 2,300 exhibitors, all but 200 of them from Italy, were expected to show new wares at this year's fair. Indeed, many were groaning about sensory overload before it opened Tuesday.
+While the artists may have won hands-down when it came to metaphor, the furniture designers were busy grappling with how to make technology more human, and if not poetic then at least practical.
+At the Milan fairgrounds, the Italian furniture company Edra was once again in the forefront, presenting furniture upholstered in hybrid materials: their shimmery waterproof linen, in fashion colors, had a rain-slicker look. Wool injected with synthetic fiber gave off an almost Naugahyde sheen.
+The shapes this year were appealing to the inner lounge lizard. One sprawling sofa at Edra, called Flap, designed by Francesco Binfare, recalled a squashed baseball mitt with fingers that could be raised or lowered as back and leg rests.
+Perhaps it was this sofa, or any one of the many low-to-the-ground samples, that prompted the architect Adam Tihany to complain that Italians don't understand the American body. 'Don't they know that we all have bad backs?' he said.
+Edra was not the only company that had a stake in technological derring-do. Kartell, the plastics giant, was also on hand with a love seat called Bubble Club by Philippe Starck. While old-fashioned in look with its rolled arms, the sofa exemplified the latest techniques in molding plastic. It required a special rotational device to make a piece that large, with comfy give in the seat. It will cost $400 to $500 when it arrives in the United States later this year.
+Mr. Starck, wearing glasses with a Fendi tag still pasted to a lens, noted that to be able to make a piece of 'such size and durability for so little is a revolution; you can put it in your salon or forget it for 100 years in your garden.'
+He added, 'It's kind of no style, coming from the collective unconscious. I like that it's not 'designed' by me.'
+Understated minimalism is selling too well to dismiss. And there was plenty on show, with only the slightest deviation from years past: a little extra nub on the politely textured wool upholstery at B&B Italia, for example, but bring your magnifying glass to discern it. There are also new pieces by Antonio Citterio, the maestro of low-key elegance.
+Instead of messing with the success of clean lines, many manufacturers opted for saturated late-60's colors straight from Barbra Streisand's wardrobe in 'Funny Girl' or  Andy Warhol's silk-screen portraits.
+To assuage some apparent restlessness or perhaps just to attract a younger crowd, B&B also reissued a newly hip 60's classic: Gaetano Pesce's Up furniture collection in fabric-covered foam, with its bulbous  high-back chair resembling a Botero mother. The ottoman is a round ball tethered by a bungee cord. The chair will be about $1,729 in the United States. At the Satellite, a pavilion for aspiring designers, it was a great hit with young talents trying to catch some shut-eye between events.
+Cappellini tapped two young designers, Erwan and Ronan Bouroullec from Brittany, who reinterpreted a native cloistered bed. The piece also invoked Australian shuttered architecture, including fire-watching towers, in its elevated 'treehouse' style.
+Elsewhere, a few architects were invited to punch up the streamlined shapes. The company Driade asked David Chipperfield, one of the master minimalists of London, and Kazuyo Sejima, known among cognoscenti as the Rem Koolhaas of Japan, to contribute.
+Ms. Sejima stretched further than Mr. Chipperfield, who designed a collection of regulation mahogany and aluminum home-office furniture. She  created a sitting room with multipurpose pieces that range from a tatami-inspired foam platform to a zany inflatable lime-green slipcover for side chairs.
+'In Japan, everyone has these very hard chairs to sit on,' Ms. Sejima said. 'I wanted to find a cheap way to make them more comfortable.'
+Although the prototype emitted a few embarrassing whoopee-cushion sounds when tested, it promises to be poetic and practical. Artists, please take note.
+Next week: Milan's new faces.
+DESIGN NOTEBOOK"
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+TODD OLDHAM liked the camera so much he created a dress from its tiny snapshots. Britney Spears uses it onstage, snapping pictures of her fans. Polaroid's toylike I-zone, an instant pocket camera sold beside cash registers like a Snickers bar and offered in the shrill hues of teenage nail polish -- Wicked Wasabi, Go Grape Sorbet -- is the country's best-selling camera.
+The thumbnail-size I-zone images are as grainy and dark as 'The Blair Witch Project' and enjoy a similar following: half the buyers are girls 14 to 17, who use them at parties and tack the pictures to notebooks and bulletin boards. Since last fall, two million I-zones have sold, at $25 each, making Polaroid profitable last year for the first time in five years. Polaroid, whose images were often found in real estate office windows, has returned to the party -- and the backyard and the family room.
+The I-zone and its instant-camera siblings, the larger Popshot and Joycam, mark a radical departure for Polaroid, whose success in the 1960's and 70's was based on technological innovation. Founded by an inventor, Edwin Land, it was run for years by engineers. Now, its innovations are coming from design, said David Laituri, Polaroid's manager of design strategy, who offered a peek at Polaroid's future.
+Mr. Laituri and his redesign team have taken pages from Swatch and Motorola to turn the cameras into highly personalized and fashion-influenced consumer products with a new design language, for a company that is speaking less formally and using a far hipper vocabulary.
+'We call our design language 'double bubble,' ' said Mr. Laituri, who came to Polaroid in 1998 from Lunar Design, where he helped shape home computers for Hewlett-Packard. Here, his design theme consists of an oval intersecting a circle. The shape expresses the function: the round lens and oval viewfinder intersect, visually suggesting their similar functions; double bubbles recur in the shutter pull ring of the Popshot. The ovals lend unifying style to the Polaroid product line.
+The I-zone was developed with Tomy, the Japanese toy and gadget maker, and became a hit in Japan in 1998. But Polaroid was slow to bring it to the United States, recalling failed forays into hipness like the Swinger (circa the late 60's). The low resolution images appalled many in the company, Mr. Laituri says.
+The new cameras make smaller pictures than the SX-70 and top-of-the-line Spectra cameras. The 1-by-1 1/2-inch image emerges from the I-zone on a paper strip that looks like a large colorful Band-Aid. Veiled and dark, the images are somehow fresh and new, like the first photographs.
+For a generation weaned on high tech and high resolution, the I-zone's small size and low resolution are welcome. So is the versatility of the sticker-backed film, inspired by photo vending booths in airports and bus stations. 'There was a lot of resistance within the company to the change,' Mr. Laituri said. 'The key idea at Polaroid now is that it's not the quality of the image that is important. It's how you use it.'
+The use transcends the technology. This summer, Polaroid is introducing a hybrid camera, capable of producing I-zone film images or digital electronic images that can be downloaded into a computer, named the Combo Camera. Another product, developed under the name Webster, will scan I-cam images for posting on the Web. Both cameras tap the ideas of consultants like Ideo in San Francisco and Altitude and (Eleven), both based in Boston.
+Polariod intends these cameras to be social devices -- like the cell phone, which the I-zone resembles in size and shape. Taking pictures of one another at parties is a way for teenagers to communicate. (Adolescent girls in particular say they fear looking bad in a picture. A photo that develops instantly can be destroyed instantly, with no nasty negatives.)
+The idea is to produce cameras that reflect not just the personality of the owner but also her mood. New colors for the I-zone come out every few months. Feeling upbeat this morning? Grab a Go Grape model. More mellow? Go for the silver camera. A secondary line of 'tech translucent' colors will be introduced starting next month, with names like Phat Blue and Concrete Jungle.
+If this seems far from the high-tech vision of Edwin Land -- he helped design the cameras in the U-2 spy plane in the late 1950's -- the I-zone harks back to his principles. He was both a brilliant technician and a man driven by democratic ideals.
+His relationship with Henry Dreyfuss produced the SX-70 in 1972. Fine tool, but also fun toy, it was the camera Andy Warhol took to parties and discos, his portraits composing an informal documentary of the Manhattan scene of the 1970's. At this year's Walker Evans shows at the Metropolitan Museum and the Museum of Modern Art, Polaroid SX-70 photographs hang beside his best-known black-and-white photographs. Of the SX-70, Evans said that for the first time, one could 'put a machine in an artist's hand and have him then rely entirely on his vision and his taste and his mind.'
+Land's first inspiration for instant photography was, he said, a request from his teenage daughter, who wondered why she could not see family vacation snapshots right way.
+He had an idealistic vision of a camera that would release the artist in everyone. 'My basic faith, is in the random competence of people in all walks of life, at any level of income, of any derivation,' he said. 'There is a common sense of beauty and of manual aptitudes.'
+That these competences should turn up at teenage girls' slumber parties would have delighted Land -- and probably should not have surprised Polaroid's engineers.
+DESIGN NOTEBOOK"
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+TALK of rising costs and slipping sales was willfully postponed this week in anticipation of the 42nd Salone Internazionale del Mobile, the world's premier showcase of elegance and daring in contemporary design, which opened yesterday in Milan.
+The air of expectation was heightened by a frigid cold front that had people exhaling chilled clouds, even inside the palazzi courtyards and converted garages that are the traditional sites for many of the exhibitions outside the official fairgrounds.
+Last year's dreams of opening a little shop in New York, maybe Tokyo and London too, to take advantage of the swelling popular interest in design has also gone up in smoke for all but a few. The fascination with design that the fair has been feeding on for the past five years has been tempered by the hard reality of a stagnating market. Home-furnishings exports in 2002 were down 5.1 percent, according to the Italian Statistics Bureau.
+All the more reason that the focus this year is on a handful of furniture companies that still have an appetite for trying new things.
+On Tuesday evening, Giorgio Busnelli, the chairman of B&B Italia, one of the largest Italian furniture manufacturers in size and prestige, paced his vast new store, where a new collection of black-on-white-check sofas with mismatching arms was on display. He studied the abstract graphics on a cool black and silver invitation to a party that had so far attracted only a gaggle of journalists. 'Maybe the dealers won't be able to read this and they won't get here,' Mr. Busnelli said.
+In a funkier part of town near the Brera Museum, where flea market stalls are set up on weekends, Massimo Morozzi, the art director of Edra, all lean and leathered like a design world Mick Jagger, sat on a white couch in a white room with white lacquered floors. He too has a new store, with stark interiors that made the red and green worm-shaped love seats pop out all the more. Last year's room-size purple velvet divan made of entwined snake ropes captured the company's art and disco aesthetic perfectly. And yet Mr. Morozzi also has an eye on expansion, if not global domination. 'We are very small, but we have a strong image around the world, bigger than some fashion designers,' he said. 'We need to take it further, and this is a good first step.'
+Forward-looking Italian furniture companies know that it is no longer enough to try to sell a plastic chair by having Philippe Starck tart it up with a silly name. The new approach is to have stores in major cities, tie-ins to artists and serious photography in oversize brochures. This is branding the way fashion started doing it 10 years ago. Murray Moss, owner of the Manhattan store Moss, said: 'It's no longer sufficient just to make furniture available to people. You have to give it a context, and just hanging on a sign that says 'new' isn't enough.'
+On Tuesday night, a long line, at least eight people abreast, snaked out from the narrow entrance to the soaring groin arches of the 19th-century Rotonda della Besana, where Driade held its 35th anniversary party. Pale yellow plastic armchairs, glass tables and wooden storage units were bathed in swirls of smoke being coughed out by machines situated in four corners of the narthex. All the new furniture, however, was back at the store.
+Driade has long understood the dynamics of establishing a brand. There is no one look to the furniture, and an ever-changing cast of star designers including the latest discovery, Tokujin Yoshioka, a Japanese designer who worked in the offices of Shiro Kuramata and Issey Miyake. Mr. Yoshioka designed a plastic molded outdoor bar ($300) and high stool ($190), both slightly dented in the midriff, like a freshly plucked mushroom stem minus the cap.
+Driade, a small company when founded by Enrico Astori, his wife, Adelaide Acerbi, and his sister, Antonia Astori, now has more than 100 shops worldwide and three brand identities covering high-concept furniture, tablewares and kitchens.
+B&B Italia is three times larger than Driade, and last fall the investment arm of Bulgari, the fashion company, bought 55 percent of B&B Italia from Mr. Busnelli and his family with the intention of expanding the brand. In partnership with the Marriott Corporation, Bulgari is soon to announce plans for a new luxury chain, outfitted by B&B Italia and designed by Antonio Citterio.
+Some think that leaping in the direction of fashion and branding will not be easy. Adam Tihany, the New York designer, said: 'There's a fundamental difference between the two. Fashion is an impulse buy. And it doesn't matter if you're choosing between a $150 tie and a $150 lamp, people still see the one as a personal choice and the other as a real estate decision.' Other critics say that a large store offering only one look might be boring in our age of mix and match.
+Dornbracht, an ambitious German faucet company, is taking the brand concept a step further. Andreas Dornbracht, the managing director, said the future is not in selling products but in rituals. To that end, he commissioned European and American artists to contemplate the bathing experience. The result is Rainwater, a work-in-progress ceiling plate, to be positioned over the bathtub, that rains five ways, from downpour to drizzle. The fixture (Mr. Dornbracht said it would cost more than $5,000) will also emanate sandalwood and other scents. The full concept -- that's the going word these days for amplified products -- would include lighting that simulates rays of sunlight and moonlight tracking across the room.
+'The 90's were an era of aesthetic development,' Mr. Dornbracht said. 'This decade is about people trying to find more time to deal with themselves. They need objects with a new emotional function.' Perhaps it could more aptly be called the Age of Look, Feel and Spend.
+Design Notebook"
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+MERCHANT STREET is a tattered row of produce warehouses and auto body shops, its littered sidewalks and cracked street home to the poor and to drug addicts. This is not a pretty part of town, but here in the heart of what is known as skid row is a jewel.
+At the back of an asphalt parking lot, in a wall decorated with dancing colored letters, a door gives a view into a charming urban courtyard. A cheerful ceramic fountain is covered in hand-painted hearts, fruits, flowers and birds amid ripening orange trees. Running almost the length of the courtyard is the glass front facade of a large, bow-trussed building. On any given day, the space inside is filled with children drawing, painting, acting or making music.
+This is Inner-City Arts, a nonprofit arts school that is both an enlightened model for arts education and a showcase building where education is embellished by architectural example. Inner-City Arts, founded in 1989, provides visual and performing arts classes and English language instruction to students from public elementary schools -- largely the offspring of immigrants from Mexico and Central America who work in the local garment and manufacturing industries.
+The school was founded by Bob Bates, an artist and teacher, and Irwin Jaeger, a Beverly Hills real estate investor who decided there had to be more to life, as he says, 'than working, taking vacations and going to charity dinners.' Their aim was to fill a void in arts education created by Proposition 13, a property tax cut initiative approved 20 years ago this month by California voters that slashed financing for public services and schools. In the year after its passage, said Beth Tishler, the school's executive director, virtually 'all arts curriculum was eliminated from the public schools.'
+There are now more than 200 nonprofit arts programs in Los Angeles, many deemed excellent, but Inner-City Arts is rare in that it boasts, in its converted 8,000-square-foot auto body shop, an inspiring home, where the architecture elevates the social and arts-education experiences. The building, officially called the Mark Taper Center/Inner-City Arts, was designed by Michael Maltzan Architecture, with Marmol & Radziner Architecture and Construction. Mr. Maltzan, a protege of Frank Gehry and the project architect on the Disney Concert Hall planned for downtown Los Angeles, said that he felt compelled 'to do something' after the city's 1992 riots and that he did the work pro bono.
+'L.A. was my adopted city,' he said. 'To see it rip itself apart was devastating.'
+Inner-City Arts is expansive and bold in its sculptural forms, with light pouring in through its vast window wall. The plan, described by Mr. Maltzan as 'a village of objects' around a central courtyard, affords views from one area to another -- 'limitless horizons,' he says -- and flexibility: spaces are constantly used in different ways.
+The design is also an object lesson in construction. Children study the raw surfaces -- the unadorned brick walls, the timber frame partly clad in plasterboard, the exposed trusses, the roll-up garage doors. They draw inspiration for their drawings and paintings from the strong, simple shapes. 'Kids use the building as material for some of their art projects,' Ms. Tishler said. 'They talk about how the building was put together, the ways in which they contribute to the changing and molding of the building.'
+Many children live in lamentable conditions in apartments for transients or in housing projects. 'I love it -- it's big'; 'it's fun'; 'it has pictures all around,' were some reactions of a group of 7-year-olds on a recent visit. Nick Estrada, 18, a former pupil and now a volunteer there, said, 'Inner-City Arts is my home.'
+Having started with 300 children from one school, Inner-City Arts now caters to 8,000 children annually from 11 public schools who attend classes twice a week for six weeks. More schools are clamoring to be included. In 1994, the school moved from two temporary bungalows to its current premises, at 720 South Kohler Street. (One entrance is off Merchant Street.) It has bought two adjacent industrial buildings and intends to triple in size, with plans that include animation studios.
+The school -- now backed by an impressive list of donors, like the National Endowment for the Arts and the Mark Taper Foundation, which supports, among other things, social services and the arts -- has developed a unique relationship with the Los Angeles Unified School District. The district provides transportation and security and has helped the school create a program for teaching English through art.
+'This private-public partnership is a national model,' said Leticia Quezada, a past president of the Los Angeles Board of Education. 'The quality of the arts experience the children are receiving is phenomenal, 400 percent better than it would be in the school classroom. There's a sense of confidence in the arts experience those children are getting, and we want to see it extended to other schools.'
+Thanks in part to programs like this, attitudes toward arts education have begun to change. Buoyed by a revived economy, California politicians have, like their national counterparts, put education on the front burner. And arts education has crept back onto the agenda in part because of lobbying from the entertainment industry. 'There's great demand for talented visual artists, but unfortunately we have to get people from outside California and the U.S.,' said Scott Ross, a co-founder, with the director James Cameron, of Digital Domain, a visual effects studio in Los Angeles.
+Delaine Easton, the State Superintendent of Public Instruction, has called for the restoration of arts education in California public schools. And last March the Los Angeles school district passed stringent arts graduation requirements for all Los Angeles public schools.
+'The hard part now is the implementation,' said Don Dustin, the Los Angeles school district's director of visual and performing arts. 'We do not have the resources, the background, the personnel.' It is at this point that Inner-City Arts, only nine years ago a modest alternative, has moved center stage.
+While Inner-City Arts may be a curricular model, it is less likely to be an architectural one. Because many public schools are struggling simply to keep roofs from leaking and bathrooms cleaned, concern for the surroundings as an educational asset is not a priority.
+After the construction of Inner-City Arts, Mr. Maltzan designed a new arts complex, completed in March, at Harvard/Westlake School, a private, affluent junior-senior high school in North Hollywood. It is an equally forceful architectural composition of art rooms and art gallery. Perhaps most important, the buildings surround a much-used communal plaza. Enrollment in art classes has increased since the opening.
+But even at Harvard-Westlake and Inner-City Arts, Mr. Maltzan initially faced resistance to lavishing effort on the architecture. At Inner-City Arts, he said, 'they were used to living off donated paper.' At Harvard-Westlake, the school deemed teachers and computers paramount and architecture as enclosure. 'In lay people's minds and the minds of most trustees,' said Thomas Hudnut, Harvard-Westlake's headmaster, 'architecture implies added expense. It's not until someone catches the contagion of creativity and inspiration of architecture that one appreciates what it can do.'
+At present the challenge is to get art back into the schools. Perhaps architecture will follow."
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+IN the more than 25 years they've been married, Steven and Judith O'Connor have moved 18 times. They have lived in a small nondescript apartment in Iran with a Turkish toilet and in a heavily shuttered home in Athens, shortly after the collapse of the military regime. Then there was the cedar-paneled house overlooking a sound in Bermuda, the tile-roofed hacienda in Phoenix and the Provencal-suburban manor in Dobbs Ferry, N.Y.
+Finally, just a loud honk from the Holland Tunnel, they're putting down roots, in a loft building in TriBeCa. But for the first time, the couple say, they're in terra incognita, a landscape mapped by architects. Where once they traveled freely with little more than what they could stow under an airplane seat, now their roots are planted in blue Brazilian granite, laminated glass and blackened steel plate.
+Rolling stones they may be, but they have brought plenty of moss to this new frontier of bold, sleek architecture: personal penates and mementos, gathered over years of wandering. In the absence of a permanent residence, it was their things -- Oaxacan clay figurines, Persian carpets, a whirlwind of blown glass by the artist Dale Chihuly -- that defined them. At last, they were ready for a space of their own, but they didn't want it to be a curio cabinet.
+They were ready -- but not prepared -- when Adam Yarinsky and Stephen Cassell of the downtown firm Architecture Research Office, offered a vision. In Mr. Yarinsky's words, it was of a wide open space responding to 'the daily and seasonal cycles of the sun, where materials, not walls would create limits.'
+For starters, the entrance isn't even a door. Instead, a massive 5-by-8-foot pivoting panel of steel, acid-washed and waxed to a blackened sheen, sweeps open to reveal at a glance 4,000 square feet of open floor surrounded on all sides by windows and punctuated by three operatic gestures: a glass-and-steel staircase, a towering wall of blue Bahia granite and a three-story atrium of translucent glass.
+Was the marriage (and who would deny that costly commissions assume the significance of a marital bond?) of these color-loving, stuff-hoarding world travelers and these spare-leaning, Adolf Loos-talking Modernist architects a union made in heaven or a case study for 'Can This Marriage Be Saved?'
+'I wanted a place that when I woke up in the morning and walked around, I'd see something different every time,' Mr. O'Connor said. 'I wanted a space that would get me thinking.' Their travels may be over, but they still hankered for wide horizons, even of the interior sort.
+At first, Steven and Judith O'Connor would not appear to be likely clients for Type A architecture. He's a burly guy who wears plaid shirts to work and likes to shoot pool and watch hockey games with his 14-year-old son. Now 48, he started out as an alternative-school teacher but switched, midcareer, to the financial world and made enough money to be able to afford an apartment costing upward of $4 million.
+His wife, who trained as a graphic designer, has a craftsman's love of the handmade and a pack rat's tendency to accumulate. She abhors e-mail, and in the morning can be found dressed in voluminous print skirts and sensible rubber shoes, sitting at the kitchen counter writing letters in longhand. She is the first to admit that her aesthetic and that of her architects are somewhat at odds.
+'Maybe it's from years of being in Iran, where the mosques and the bazaars dazzle you with so much visual texture and intricate patterning, but I like lots of color and a bit of a clutter,' said Ms. O'Connor, 47.  'I'm not bothered by stuff, and I know how that drives architects crazy.'
+Mr. Yarinsky and Mr. Cassell wouldn't disagree, but they are professionals. 'Some clients want everything dictated to them,' Mr. Yarinsky said, diplomatically. 'We appreciate whichever way people choose to live.'
+The Manhattan architects met while apprentice designers in the office of Steven Holl and set up their own firm five years ago. Their diverse clients range from Biotherm, the cosmetics company, to the Pentagon, for which they built the recruiting station that reopened this fall in Times Square, to the Cooper-Hewitt museum (they designed the 1997 Henry Dreyfuss exhibition). Mr. Cassell, 36, and Mr. Yarinsky, 37, have already established themselves as the kind of young architects -- brainy and modern but not afraid of their inner sensualists -- that everyone wants on the short list for new projects.
+Color was a sticking point. The homeowners wanted more; the architects said that less was more. Ms. O'Connor stayed her ground. She recalls: 'I kept telling Adam: 'This is too bland, this is too blank. I know what you're going for, but I need more interest when I look at something.' '
+Of the Brazilian blue wall with its bold black veins, the yellow silk curtain wall in the bedroom, the red-and-silver screening room, the grass-green rug (not yet installed), and the cobalt, turquoise and gold glass bathroom tiles, Mr. Yarinsky said only: 'It's true. I'm more of a minimalist than they are.'
+The couple came to the project  with their eyes wide open. 'We knew in going in to build a modern apartment that they're complicated, they're difficult and they require different kinds of space,' Mr. O'Connor said. 'And this particular house has a striking architectural feel. Glass, steel, marble -- those are pretty cold materials if you come to think of it. That made Judy more nervous than me. That was the single biggest issue -- to design a place not to look and feel like a museum.'
+Ms. O'Connor still chafes in recalling the story of the delivery man who stepped off the elevator and exclaimed: 'Wow, some gallery! Is it yours?' And there's no denying that the main space does have the commanding scale and hard surfaces of a public venue -- that is, until you notice the little bowls of peanut butter candy, the pool table and the snow dome on the window sill. No corporate office or gallery has so sunny a disposition both in its design and in its furnishings.
+Knowing that travel to the sun-drenched climes of Iran, Greece and even the Southwest had made their clients lovers of natural light, the architects laid the oak floor in diagonal segments -- call it marquetry moderne -- that track the path of the sun through the apartment from dawn till dusk. (Their cat does its part as a kind of ambulatory sundial as it picks its spot for naps.)
+They placed the couple's bedroom to the east, where its interior walls are the translucent glass of the atrium light well. (As a result, the bedroom is so bright that Ms. O'Connor has trouble sleeping in on weekends, even with silk curtains.)
+The kitchen, hidden behind the oh-so-Miesian blue wall, has become the couple's favorite place to sit, take their meals and enjoy the view of their home. Out in the middle of the space, a dining table for one of their previous residences made by Terence Main, a New York artist, is more sculptural than practical. 'The chairs remind me of something out of 'Beetlejuice,' ' Ms. O'Connor said of the bronze-ribbed seats that each weigh at least 50 pounds. 'They're more comfortable than you'd think, but they aren't exactly for lounging.'
+The late afternoon sun settles in the far corner of the loft, in the area designated as the library. The corner is paneled in mahoghany-toned bubinga wood, but the cabinetry holds a 30-inch television set, not books.
+It took a pool table to stir up some action. 'These modern houses can be static,' Mr. O'Connor said. 'You can admire a blue wall -- you can't interact with it.' The pool table invites people in to play. 'People can't just stand by and look at it,' he added.
+He also pointed out a whimsical chandelier by the German designer Ingo Maurer, made of note paper skewered on long wires, some scribbled with notes and some blank. The couple have filled in a few with poems by Yeats and E. E. Cummings.
+The glass-and-steel stairway plays a double role, as sculpture and passage to the roof. The architects decided to make it a real prima donna. Steel and wood treads appear to float down from the sky, steadied, almost invisibly, by clear sheets of thick glass, a feat of engineering (worked out by Guy Nordenson) so unusual that it was featured in trade magazines even before it was finished.
+Ms. O'Connor wasn't impressed -- not, that is, until the handrail, an eel-like swerve of bead-blasted stainless steel, was put in. 'At first, it was too angular and linear for me,' she said. 'The railing made all the difference. It's softer now, more human.'
+The spirited, even sportsmanlike, tug of war between clients and architects seems to have been relished by both parties, without converting either. A few weeks after the owners moved in, an employee from the architects' office surveyed the space -- from the tweaked-up modern 'Chinese ancestor portraits' by Larry Yung to the upright Victorian music box to the papier-mache dog's head -- and uttered a sentiment heard frequently by anyone who has ever conversed with architects: 'It was so beautiful when it was empty.'
+Correction:  November 5, 1999, Friday  An article in House & Home yesterday about an architect-designed loft in TriBeCa misstated the surname of the couple who own it. Their given names are Steven and Judith; for privacy, they required that their surname be withheld. (O'Connor is the woman's maiden name.)"
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+IMAGINE a house in the Hamptons that doesn't scream for attention. Or one that isn't a genetically engineered version of the grandes dames still holding forth on beach and pond front.
+Modesty and appropriateness are not A-list qualities on that long finger extending into the Atlantic. Yet, in Montauk, where nothing upstages the pounding surf and rolling dunes, a new house manages to be the strong and silent type, with just enough attitude to be exciting. It was designed by Scott Phillips and Peggy Deamer, New York architects with a growing reputation for homes that are sensitive to the landscape and have low-key panache, along with elegant built-in cabinetwork to impress even the Shakers.
+The clients, a Manhattan couple who are so self-effacing they wouldn't be named, didn't want the old cliches anyway. No wideplanked verandas, no screened porches and painted shutters, no shingled eyebrow windows blinking at sunrises. He grew up on the coast of Spain in Basque country where, he said, 'the buildings on the ocean have to be substantial.' She summered in the Hamptons in an architect-designed modern house. They told Deamer & Phillips to find their inspiration in the former and, please, to avoid the latter. 'I'm a little tired of those modern statements. It works in a museum, like Bilbao, but it's hard on a home that you're supposed to live in,' he said.
+Stretching to accommodate a more European-influenced approach, the architects suggested a massive stone wall as the element that would quietly but distinctively set the 3,200-square-foot house apart. One face evokes the farmhouses of the Basque and establishes a fortress-like wall against the battering winds on the north. It is stern but romantic, and the tiny windows minimize disappointing views of the surrounding 50's-era ranches as they gradually give way to mega-haciendas. But the architects did not want to build -- and the clients couldn't afford -- a house literally made of stone.
+Instead, it became a house of layers and shifting moods.
+The basic mass is a shingled box with a pitched standing-seam copper roof (after one the clients had seen and liked at the Duck Walk Vineyards on Route 27). The wall, made of dry-stacked quartzite, runs along only the north and west and is pulled out from the body of the house almost like a shell from a mollusk, with a strip of skylight acting like connecting tissue. 'We wanted something to link the house to the landscape and to wrap the house without necessarily being of the house,' Ms. Deamer said. The wall cost about $100,000 in an overall project of about $1 million.
+On the oceanfront or south-facing side of the house, a flat wall of continuous glass doors and windows is bumped out and slightly skewed at one end to give the dining area on the lower floor and a bedroom balcony above the more advantageous views along the bluff. On this side of the house, the feeling is of an informal getaway.
+Pass the lemonade. The lawn chairs sit on the grass just a few feet from the path down the dunes to the beach. An outdoor shower stands in the middle of the lawn.
+But people are more likely to seek refuge from the wind whipping through the pages of their summer reads by gathering at the 40-foot cerulean blue pool, whose water laps right up to the stone wall. It was a lucky compromise that led to this elegant moat. Ms. Deamer and Mr. Phillips had thought to locate the pool on an adjoining lot, while the clients saw it going down on the beach below the bluff. They received approval to build there shortly before a new zoning law would have prohibited it. Then, even as the bulldozers were gunning their motors to rip through the sands, the owners had second thoughts, asking their architects to figure out how to fit the pool between the front of the house and a small garage-guesthouse along the road. 'We were dismayed -- the ongoing assumption was that it was going down the bluff,' Ms. Deamer said, noting that the homeowners flattered them by saying they were so ingenious they could  'make something good out of a bad situation.'
+Clients and architects alike agreed that the pool must not look suburban, but rather grotto-like, Ms. Deamer said. So the pool was pushed right up against the house. Vertical channels were cut out of the rock face to collect rain water. (Little spouts in the grooves can be turned on for instant waterfalls.) The landscape, made in collaboration with the designer Margie Ruddick, combines the European with the native: cyprus hedge, shad and olive trees. If it isn't Tivoli's Villa d'Este, it certainly transcends suburbia.
+The interior is modern without being stark. The clients decided against metal detailing except in the kitchen, where the walls are sheathed in stainless steel.
+The plan is open, in typical contemporary home fashion. 'It's always important to be able to circulate in a light-filled space rather than be subjected to a rear corridor at the back of the house,' Mr. Phillips said. Basic living spaces are on the ground floor, and there are three bedrooms on the second.
+Weekend-ready white canvas furnishings are coupled with Deamer & Phillips's signature built-in pale maple cabinetwork -- demure ornament that works. Here and there, the clients used bolder detail to reiterate the feeling of a rustic Spanish farmhouse. A pair of heavily carved shutters serve as doors on a cabinet for Champagne glasses.  A medieval wooden door, complete with iron studs and hinges, was imported from Switzerland. 'I forced it on them,' one of the clients said of the architects. 'It was against their grain.' But, he added that  'they accepted it.'
+The contrast to the simple maple cabinetwork throughout the interior is notable, but the heavy doors on the threshold also capture the overall achievement of the house and its mastery at combining creatively the modest with the moody.
+DESIGN NOTEBOOK"
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+IF this keeps up, people are going to expect a new Rem Koolhaas building every couple of weeks.
+After years in which this supremely influential Dutch architect labored to get anything more than a few interior commissions finished in the United States -- and lost several high-profile projects including a planned expansion of the Whitney Museum in New York -- he has now completed three buildings in this country in the last nine months alone.
+At the Illinois Institute of Technology in Chicago, a student center -- a cheeky, colorful building with a commuter train tunnel embedded in its roof -- opened last fall, followed in May by a huge gemlike public library in downtown Seattle.
+The latest stateside design from Mr. Koolhaas and his Rotterdam-based firm, Office for Metropolitan Architecture, is a Prada flagship store that opens here Friday on Rodeo Drive. (Prada and Mr. Koolhaas prefer to call it an epicenter, joining other large stores like it in New York and Tokyo, and one in San Francisco that may never be built.) The building, whose budget has not been released, covers 24,000 square feet on three levels, on a lot squeezed between Gucci and Brioni, just down the palm-lined street from the Beverly Wilshire Hotel.
+It is a piece of architecture whose most dramatic gesture is invisible: the building is completely lacking a storefront in the traditional sense. Before the store opens each morning, a gigantic garagelike aluminum door will retract into the basement, leaving no barrier -- no windows, no columns, no doors -- between the $400 sandals and the sidewalk.
+The threshold is protected from Los Angeles's rare spells of bad weather by an air-curtain system that responds to outside temperature and wind speed, and by the second story, which features an aluminum-covered box, 45 feet long by 12 feet high, that is cantilevered over the entrance.
+'We wanted to use this absence of facade to let the public enter absolutely freely, to create a hybrid condition between public and commercial space,' Mr. Koolhaas said.
+That is hardly an inconsequential gesture on a street where some retailers position conspicuously armed guards near the front door. At Prada, security sensors are hidden in the floor at the entrance, but keeping shoplifters from exiting absolutely freely will offer more than the usual challenge.
+There is also nowhere to affix the all-important logo. Prada is betting that the nonfacade facade will be highly conspicuous in its absence, suggesting the company's supreme brand confidence. It is a calculated, even arrogant kind of nothingness, the architectural equivalent, Prada hopes, of a woman beautiful enough to risk showing up at a gala without a bit of makeup.
+'That is what makes Prada unusual as a client,' Mr. Koolhaas said. 'They are willing to experiment with their identity rather than insisting on overdetermining it.'
+The firm explored a similar public-private mixture in its Manhattan flagship for Prada, which occupies a prominent corner in SoHo (formerly occupied by a branch of the Guggenheim Museum) and includes a stage for public performance.
+The idea, Mr. Koolhaas said, was to shake up Prada's reputation as one of the most exclusive brands in fashion by stressing an openness, even what he calls an 'easy' and 'welcoming' quality.
+Whether the willowy, perfectly turned out Beverly Hills clerks will greet browsers wearing T-shirts and Dockers in a way that can be described as welcoming, of course, remains to be seen. But it does seem at least plausible that the grand humpbacked stair that rises from the entrance and descends at the rear of the store will become an occasional hangout for Rodeo Drive regulars, as the New York store's own dramatic stair has for SoHo shoppers.
+'A lot of high-end retail spaces are done in a minimalist style that only looks good if nobody's in there and nobody's touched anything,' said Ole Scheeren, a 33-year-old partner in Mr. Koolhaas's firm who helped lead the Beverly Hills design team. 'We wanted to create a space that was exclusive but also more informal, where you could sit on the stairs and try on shoes if you want but also just talk to your friends.'
+The store opens at a time when speculation about the rise and fall of Mr. Koolhaas's fortunes is as intense as ever. Even as ecstatic reviews of the Seattle library continue to pour in, rumors are swirling that his largest commission to date, a $730 million, 5-million-square-foot headquarters for Chinese state television in Beijing, is in danger of being canceled. Losing that project would be a huge blow to the firm, which has bet heavily on China as a future home for cutting-edge architecture.
+Mr. Koolhaas was adamant this week that talk of trouble in Beijing was unfounded. 'These rumors are longstanding,' he said. 'But we meet with the client on a monthly basis, and they are absolutely convinced that the project will be built.'
+Nevertheless, the uncertainty surrounding the firm's prospects in China is taking some zip out of the Rodeo Drive unveiling. It is not the first time that Prada's projects with Mr. Koolhaas have been thrown into shadow by events beyond the company's --or the firm's -- control. The Prada store in Manhattan opened just weeks after Sept. 11, when its bold high-design theatrics struck many New Yorkers as less than appropriate. In the wake of the terror attacks, Prada was one of many global companies to stumble financially, and it was forced to put the 10-story San Francisco store on ice.
+Meanwhile, the one epicenter that Mr. Koolhaas did not design, in Tokyo, has been an unqualified architectural success. Although this building, like the others, has its roots in Mr. Koolhaas's consulting work for Prada, its design was ultimately handed over to the Swiss firm Herzog & de Meuron, which maintains a friendly rivalry with Mr. Koolhaas's office. The firm produced a glowing, crystalline structure six stories high that many critics said they preferred to the SoHo Prada store. That praise did not go unnoticed in Mr. Koolhaas's offices.
+'Tokyo definitely upped the ante,' said Eric Chang, 34, an architect based in Mr. Koolhaas's New York office.
+The firm has responded by producing a store here that tries to outdo the one in Tokyo not with jaw-dropping form but with an accumulation of precise if expensive details, along with a deployment of Mr. Koolhaas's always-inventive attempts to carve out visual connections between various levels of a building.
+Several elements are borrowed from the SoHo store, including the central stair; the glass panels that can go from transparent to opaque at the flick of a switch; digital displays that hang from the racks like plasma-screen dresses; and fitting rooms with special mirrors that allow shoppers to see themselves from the front and the back at the same time.
+In an alcove underneath the inverted V of the stairway, the architects have created a Prada time capsule of sorts. The room includes copies of the checkerboard marble floor and antique wood-and-glass display cases that filled the very first Prada store in Milan, which opened in 1913.
+There is also an emphasis throughout the building on an ever-shifting palette of materials, including Sponge, a coral-like substance of Mr. Koolhaas's invention that lines the walls of the second floor. It is the only prominent material in the store that uses the shade of green that can be found in all of Prada's smaller stores.
+While the second floor is essentially a darkened box, the top story is flooded with natural light from tall windows and a roof with panes of blue-tinted glass between long-span galvanized tube steel beams. Mr. Koolhaas has included a V.I.P. space at the rear of the floor that is connected directly by elevator to the parking lot at the back of the building. It is a very Los Angeles touch, allowing near-immediate access from air-conditioned car to air-conditioned fitting room.
+The stars who choose to arrive this way, however, will miss the front entrance, and the dramatic open-air facade. Maybe, once all their purchases are stacked in the trunk, their drivers will pull around to the front so that they can have a look.
+Design Notebook"
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+'WINTER looms large in the Canadian imagination,' said Brigitte Shim, an architect whose buildings, with their layering of warm materials and graceful blending with the landscape, are helping to put this city on the design map.
+For Ms. Shim, 41, and her husband and partner, Howard Sutcliffe, 42, the challenge is to design homes that do more than hibernate behind brown lawns and covered pools during the long snowbound months; they try to help clients experience winter as more than a void where nothing happens. 'It's seen as a dormant season,' Ms. Shim said, 'but it's very rich.'
+For David Fleck, an executive at a Toronto investment firm, and his wife, Yvonne Domerchie-Fleck, Ms. Shim and Mr. Sutcliffe designed a home for all seasons with a palette of golden Douglas fir panels, a gurgling lily pond and, improbable as it may sound, a steel facade that has weathered to an inviting leathery patina.
+'I find the house comforting, a very warm spiritual kind of environment to be in,' Mr. Fleck said. 'When you wake up, you know immediately what kind of day it is. You see the sky and the clouds and the birds circling over the valley -- but you're still in the city.'
+When summer finally arrives here, the family gravitates to a large poolside deck adjoining the kitchen. They slide open the big glass doors around the pond, allowing butterflies and ladybugs to slip inside. They swim along the lap pool toward the skyline barely visible through the birch grove.
+Koi thrive and tropical water hyacinths bloom all summer in the warm pond. 'The kids like to sit with their ice cream cones and dangle their feet over the ledge,' said Ms. Domerchie-Fleck, who floats candles on the water lilies. 'Every night before dinner, they go outside and feed the fish, so they feel more a part of nature.'
+The Flecks' home is in North York, an outlying neighborhood bordering one of the wooded ravines along the eastern edge of the city. In 1998, the Flecks hired Ms. Shim and Mr. Sutcliffe, whose firm, Shim-Sutcliffe Architects, is known for thoroughly modern spaces assembled with sensuous materials. The couple draw inspiration from Alvar Aalto, the midcentury Italian architect Carlos Scarpa and traditional Japanese construction, among other sources.
+'Brigitte represents a stream of thinking that unfortunately is not respected by many architects: that is, how things get built, the role of materials, and a direct relationship between construction and space-making,' said Robert A. M. Stern, dean of the Yale School of Architecture, where Ms. Shim was a visiting professor last fall.
+Ms. Shim and Mr. Sutcliffe met while studying architecture at the University of Waterloo in Ontario. They opened their firm in a former garage in downtown Toronto five years ago. Low-key and gregarious, they are among the leaders of a rising young Toronto design community that includes the designer Bruce Mau and the interior design firm Yabu Pushelberg.
+'Brigitte and Howard have set the standard in Toronto's design community,' Mr. Mau said. 'They are intellectual without being distant or hermetic.'
+Mr. Fleck and Ms. Domerchie-Fleck selected Shim-Sutcliffe after visiting local projects, including Ledbury Park, completed in 1998, which features a 300-foot-long reflecting pool that converts to an ice-skating rink in winter. The pool is spanned by a weathered steel footbridge and is sheltered by an allée of linden trees. The Flecks also toured the architects' own home in the city's unassuming East End, a modest but sophisticated structure with a small walled-in water garden. 'We thought they would create something clearly modern but with a soft edge, not cold,' Mr. Fleck said. 'We also had a good feeling about them -- a personality fit.' The couples have children roughly the same age.
+The Flecks initially imagined that their home would have a natural stone exterior; Ms. Shim and Mr. Sutcliffe persuaded them to use Corten steel, which weathers to a rusty brownish-red. By Mr. Fleck's own admission, the prospect of a steel house made him 'a little nervous.'
+'They had to sell us on it,' he said, 'because we only had railroad bridges and Richard Serra sculptures to look at for comparison.'
+The couple admit they worried when the blue-gray steel skin began to rust while the house was under construction in late 2000. 'We really had to trust the architects at this stage,' Ms. Domerchie-Fleck said. 'But once it reached its soft nubuck-chocolate texture, we were delighted.'
+Still, the steel wrapper raised a few eyebrows in the neighborhood. 'People asked, 'When are you going to paint the house?' ' Ms. Domerchie-Fleck said. 'One guy called it a rust bucket. Some thought we were building a bulletproof house.'
+But when the plywood construction fence came down, neighbors found that the thoughtful alignment of windows made the house almost transparent: from the sidewalk, they could peer through the house to the wooded ravine beyond. And rather than creating a big chill, the rusty steel wrapper warmed up the exterior when the trees were bare and the lawn turned brown. One neighbor even asked Ms. Domerchie-Fleck what kind of wood was used on the exterior.
+Just inside the front door is a hallway that functions as an elegant mudroom. Slushy boots are removed on a wooden bench built into a wall of vertically grained Douglas fir cabinets used to store overcoats. The living and dining rooms, with rich mahogany floors and tawny Douglas fir ceilings, lie a few steps up from the entry hall; the kitchen and family room are a few steps down beyond the dining room. The master suite, children's rooms and a guest room are upstairs. 'The house has so many different experiences, but you never feel isolated or disconnected,' Mr. Fleck said. 'We're like a bunch of bears going into a den, but we still get to see outside.'
+You might expect a crackling hearth to be the focal point of any Canadian household, but in this case, it's the lily pond, which occupies an outdoor niche between the living and dining rooms. The living room's mahogany-framed glass doors wrap around the water, so the family lives in intimate contact with it. The pond cascades into a second pool. Beyond them, the lap pool, spanned by a small wooden bridge, points the way toward a grove of newly planted river birches and the landmark CN Tower in the distance.
+In winter, water flows through the Flecks' pond, and vapor billows off the lap pool. A thermostat keeps the water just warm enough to prevent freezing. 'When there's snow around the pool, it's spectacular,' Ms. Shim said. (A motorized retractable pool cover is used primarily for safety, and to keep out autumn leaves.)
+The tall clover lawn specified by Ms. Shim in collaboration with the landscape architect Neil Turnbull becomes 'insanely green' in the summer, Ms. Shim said. The owners clip it just four times a year, and it requires no herbicides or pesticides. It's so thick that footprints take an hour to vanish.
+Winter and summer, sunlight casts dappled reflections from the pond onto the living and dining room ceilings. The huge sliding glass doors bring the outdoors in. Rainwater drains from the roof through a large steel scupper, past two tall windows and into the pond. 'You're always aware of the weather and the water,' Ms. Shim said. 'That kind of impact on day-to-day life is powerful.'
+Even the synthetic Corten exterior charts the passing of seasons as it mellows over time to an almost purple-brown. 'The steel has just recently begun to get a soft streaking, which makes it even more organic,' Ms. Domerchie-Fleck said. Because she and her family can see parts of the exterior from inside the building, they are attuned to the steel's weathering process. 'We feel like we have watched the house grow up,' she said.
+Architectural Stops For Toronto Visitors
+FOR Brigitte Shim of Shim-Sutcliffe, Toronto is a garden of architectural delights. Her recommendations for design-minded visitors include the Mies van der Rohe towers and banking pavilion (King Street at Bay Street), clad in verdigris marble. 'It's like Mies in Technicolor,' Ms. Shim said. Another must-see is the City Hall, by the Finnish architect Viljo Revell, completed in 1965 (100 Queen Street West; 416-338-0338). Nathan Phillips Square, adjoining it, with a farmers' market and ice-skating rink, is 'a very Canadian public space,' she said. She browses at the Design Exchange galleries (234 Bay Street; 416-216-2140) and Ballenford Books on Architecture (600 Markham Street; 416-588-0800). David Mirvish Books/Books on Art (596 Markham Street; 416-531-9975) has a Frank Stella mural. The Power Plant Contemporary Art Gallery (231 Queens Quay West; 416-973-4949) has a show of the designer Bruce Mau through May 26. And the private Ydessa Hendeles Art Foundation (778 King Street West; 416-413-9400; Saturday afternoons or by appointment) has shows that Ms. Shim called impeccable.
+RAUL A. BARRENECHE
+DESIGN NOTEBOOK  Correction:  May 23, 2002, Thursday  An article last Thursday about a house in Toronto designed by Brigitte Shim and Howard Sutcliffe misstated the given name of an Italian architect who influenced their work. He was Carlo Scarpa, not Carlos.
+The article also misstated the year that Ledbury Park, another Shim-Sutcliffe project in Toronto, was completed. It was 1997, not 1998."
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+AS Memorial Day looms, few pronouncements strike more terror in the heart than those inevitable words, 'Hazy, hot and humid.'
+For 73 percent of American homes, the most convenient, though perhaps not universally loved remedy for summer oppression is the air-conditioner. Without it, we would not have (choose one): Disney World, Las Vegas, the Houston Astrodome or 'The Phantom Menace,' the ritual of the summer blockbuster being a direct byproduct of air-conditioning.
+To Donald Albrecht and Chrysanthe Broikos, curators of 'Stay Cool! Air-Conditioning America,' the new exhibition at the National Building Museum, little has been more influential in 20th-century building than that relentless whir. America's perpetual summer embrace of man-made weather was perhaps best expressed by Marilyn Monroe in the 1955 movie 'The Seven Year Itch,' where she is lured to a neighbor's air-conditioned apartment in 95-degree heat, rapturously kicks off her shoes and coos, 'Ooooo . . . this is really the most.'
+And so Americans largely have seen it. Yet, the nearly universal adoption of this 'defining technology of modern times,' in Mr. Albrecht's words, has not been without its costs, some of them profound. The exhibition, financed by the industry and on view through Jan. 2,  celebrates and scrutinizes, perhaps too gently, the air-conditioner's social, even political impact. Visit during Washington's notorious summer, if you dare, and contemplate Gore Vidal's 1982 observation that before air-conditioning, the capital was deserted from mid-June to September, but now, 'Congress sits and sits while the Presidents -- or at least their staffs -- never stop making mischief.'
+As Mr. Albrecht noted the other day (a mild one), there is something quintessentially American about the notion of controlling weather. Air-conditioning has deeply affected our relationship to nature and the design of offices and homes, hastening the demise of attics, overhanging eaves and porches. It promised nothing less than wall-to-wall perfection, a temperate climate anywhere. 'Make every day a good day,' the manufacturers of flowing air beckoned. 'You can bring spring indoors to stay.'
+The exhibition, cleverly designed around a series of duct-work towers by the design firm Pentagram, starts with air-conditioning's grip on industry. Before it, when temperature and humidity fluctuated, cotton threads broke, cigarette machines jammed, bread grew moldy, film attracted dust, pasta lost its shape, and chocolate turned gray. All this changed,  thanks to Willis Carrier and other pioneers.
+But most of all, the air-conditioner made the movies, and vice versa. Until its arrival in the 1920's, the movie industry suffered summer doldrums. Only the hardiest souls ventured inside sweltering nickelodeons, which were widely viewed as a public health risk. Air-conditioning gave rise to the atmospheric picture palace, theaters like the Fox in Atlanta, which were designed to simulate courtyards, with sunrises and sunsets projected on the ceiling. Even more galvanizing to the movie business was the ritual of the summer release. Suddenly, pictures could be profitably shown 12 months a year. Ticket booths sprouted ersatz icebergs and icicles. The ultimate summer come-on was '20 Degrees Cooler Inside.'
+In 1929, the first residential air-conditioner, made by Frigidaire, came on the scene, a clunker weighing 200 pounds and measuring 28 by 18 by 49 inches. Like much in American life, the air-conditioner made its debut in the mansions of people like Andrew Carnegie and the public provinces of the elite, including the New York Stock Exchange, before filtering down to the masses.
+Convincing the great uncooled to air-condition their homes was no small task, however, in part because it meant persuading women to put a noisy ungainly machine in the living room. Some manufacturers, like the Trane Company, used television commercials to create guilt, by urging husbands to 'stop boiling' their wives.
+By the 1950's, the post-World War II building boom, especially the suburban tract house, made the popular embrace of air-conditioning a fait accompli, as Gail Cooper, the exhibition's consulting historian, writes in her book, 'Air-Conditioning America: Engineers and the Controlled Environment, 1900-60' (Johns Hopkins University Press, 1998). It documents more fully and darkly than the museum's exhibition the convergence of business, architectural and banking interests that 'reconceptualized from a luxury to a necessity' the status of the air-conditioner and led The New York Times to write in 1955 that it 'has replaced the television and the washing machine as the most wanted item by homeowners.'
+Consider these responses to air-conditioning in 1950's and 60's consumer surveys: 'We've sold our summer house -- we're so comfortable we stay home all summer.' And: 'It's much easier to be nice when you're cooler. Our friends seem more jovial.'
+But the new postwar houses required air-conditioning to make them comfortable. Their sought-after modern features, like low roofs, sliding glass doors and picture windows, 'looked appealing, cost little and turned in a very poor environmental performance,' Ms. Cooper writes in her book,' adding, 'Windows were useful for letting in light but no longer needed to open.'
+Better Homes and Gardens told readers in 1949: 'in houses planned for air-conditioning, you can omit basement, screens and movable sash to offset the extra cost of the equipment.' The disappearance of thick walls, overhanging eaves, porches and other traditional cooling strategies was compounded by house lots cleared of greenery, all of which made the house hotter. The solution was air-conditioning. Architectural Forum observed, 'These new industries, with their devices and materials, offer ambrosial hopes for bright, new, indoor tomorrows.'
+That bright indoor tomorrow was strikingly symbolized by the glass-walled skyscrapers of the 50's, most notably New York's Lever House and United Nations Secretariat building. Though the epitome of urban sophistication, they were sealed glass boxes dependent on air-conditioning. The result, as seen in office parks across America, was the modern tower with frozen windows.
+'Too often air-conditioning has been used to make thousands of bad buildings palatable,' said Dr. James Marston Fitch, author of the 'American Building: The Environmental Forces That Shape It' (reissued by Oxford University Press, $40). Dr. Fitch noted that heat-related deaths, long a feature of summer life in poor neighborhoods, particularly tenements, could be mitigated by air-conditioning. But he added, 'The idea of a 24-story cube protected by a sheet of glass against all the elements of the North American climate is ludicrous.'
+In recent years, there have been strong signs of a backlash against canned air. Home designs by the so-called New Urbanists in places like Seaside and Celebration, Fla., recall life before air-conditioning, when summertime social life revolved around front porches, breezes and sidewalk lemonade stands. The difference, Mr. Albrecht said, is that today 'the porch is being brought back as a symbol rather than a functional necessity.'
+A deep yearning for fresh air and the open window is even beginning to affect office design. At the new 'green' Gap headquarters, designed by William McDonough in San Bruno Calif., for instance, employees control the air-conditioning and ventilation of their individual cubicles. A new skyscraper in Penang, Malaysia, combines air-conditioning and natural ventilation, including balconies. 'The top complaints among employees are 'I'm too hot' and 'I'm too cold,' ' said Bill Browning, founder of green development for the Rocky Mountain Institute. He is helping companies rethink ventilation, spurred in part by energy saving and indoor air quality. 'We've learned how to allow people some degree of control over temperature and air flow in their work space, with about half the energy consumption of conventional office buildings,' he said.
+Though Mr. Carrier didn't intend it, a certain amount of ambivalence may have been built into air-conditioning. In New York, there is nothing quite like summertime in the subway, when passengers squeeze sweatily into the frigid cars and leave the tropical ones empty. There is also nothing quite like feeling cold raindrops dribbling down the back of your neck on a summer day in midtown, then looking up at the sky, mysteriously blue, and realizing it's air-conditioning.
+DESIGN NOTEBOOK"
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+IN London, Washington and, most recently, New York, attendance at the traveling exhibition on Charles and Ray Eames, the postwar design mavericks, broke museum records. But people filing by to marvel at their plywood molding experiments -- prototypes that didn't cut it and (eureka!) ones that did -- were unaware that nearly every major American institution had passed up the chance to buy the Eameses' legacy of furniture invention.
+The Museum of Modern Art and the Metropolitan Museum of Art were among those that turned it down, leaving the Eames family facing huge inheritance taxes, the threat of eviction from their offices and the prospect of selling off the products piecemeal to resale stores.
+'Cherry-picking would have paid a lot more to the family,' said Eames Demetrios, the designers' grandson. In 1988, the Vitra Design Museum in Germany came to the rescue, acquiring 400 Eames objects. It has gobbled up the estates of the American designers George Nelson, Harry Bertoia and Alexander Girard, as well.
+The preservation movement that routinely takes up arms to protect buildings of established cultural significance has yet to take an active role in saving America's modern design legacy. While any museumgoer can inspect the preliminary studies of great painters, Donald Albrecht, a guest curator at the National Building Museum in Washington and the Cooper-Hewitt National Design Museum in New York, is one of many experts who fear that the lack of interest in the design process, from objects to blueprints, will mean a loss of 'intellectual underpinnings, and the context that explain how our world is put together,' as well as inspiration for future generations. 'It's very shortsighted of American institutions not to be going after the great designers,' he said.
+When Raymond Loewy, the industrial designer who stamped his streamlined vision on such familiar objects as Greyhound buses and Lucky Strike packages, died in 1986, his widow auctioned his best concept drawings in Europe, where they disappeared from view. The widow of Minoru Yamasaki, the architect of the World Trade Center, destroyed her husband's papers and drawings when no institute expressed interest in taking them.
+'How do these things slip away?' asked David A. Hanks, a museum adviser in New York. 'It's an ongoing tragedy, because the public doesn't realize the importance of archives.'
+Architects of the predigital generation like Frank O. Gehry, Richard Meier, Michael Graves and Robert A. M. Stern are filling storerooms to the I-beams with their prototypes and correspondence but say they have yet to find serious takers for the accumulations of their lifeworks. 'It's a big problem,' said Terence Riley, the chief curator of architecture and design at the Museum of Modern Art. 'The approach in America is all too often helter-skelter. There ought to be a big national archive of American design.'
+The de facto attics for American design have been university libraries, private European museums, corporate collections, foundations, government institutions and the Library of Congress, to which Charles and Ray Eames donated their papers, drawings and photographic images. But these institutions collect scattershot only those donations they can afford to preserve and maintain, squirreling them away for persistent scholars but rarely exhibiting them for public enrichment. It took the Library of Congress about 10 years to pull together the Eames exhibition, with the help of Vitra, I.B.M., the Herman Miller furniture company and the Eames family. (It opens Saturday at the St. Louis Art Museum.)
+The Getty Research Institute in Los Angeles did not express interest in buying the architectural outpourings of Richard Meier, even though he designed the Getty Museum. The institute prefers to collect single projects.
+'Archives since the postwar period have grown incredibly in size,' said Wim de Wit, the head of special collections at the Getty Research Institute. 'The number of drawings are gigantic. You'd need warehouses for them.'
+In contrast, well-financed European institutions are methodically and aggressively pursuing the creative overflow of significant living architects and designers, among them the Netherlands Architecture Institute; the Fonds Regional d'Art Contemporain, a state-financed archive of art and architecture outside Paris; and the Royal Institute of British Architects. More recently, the Canadian Center for Architecture in Montreal scooped up the archive of Peter Eisenman and the works of a handful of other American architects as part of its program to focus exclusively on projects and people 'who make new proposals to the international current of ideas,' said Nicholas Olsberg, chief curator at the center.
+Archives tell the story of the invention process and the evolution of new ideas, said Stephen VanDyk, who presides over the archives of Henry Dreyfuss and Donald Deskey, which were donated to the Cooper-Hewitt National Design Museum. 'You can see their thinking,' he said. Dreyfuss, for example, designed the 20th Century Limited and innovative household appliances. 'You can look at drawings showing how he made a round thermostat' by analyzing rectangular ones already in use and watching how people handled them, Mr. VanDyk said.
+'You can see the inventor in him at work,' he said.
+Last month, the John Lautner Foundation was established with an annual budget of just $13,000, gleaned from private donors and copyright fees. Its goal is to assure that awareness of Lautner, the iconoclast who designed the Chemosphere House and other Los Angeles architectural landmarks, will be kept alive through exhibitions, publications and educational events. (Both the Getty Research Institute and U.C.L.A. made offers that the foundation found all too easy to refuse.) 'Our ultimate goal is to move into a building designed by Lautner, like the Corbusier Foundation,' said Frank Escher, the archive administrator.
+Some living architects are more interested in getting top dollar for their work than wide exposure. Frank O. Gehry thinks he is sitting on a golden egg. 'If it's worth something it would be nice to get something for it before I die,' said the 70-year-old architect, who has meticulously saved just about everything he's ever produced, from cardboard chair prototypes to silver-paper models of the Guggenheim Museum at Bilbao, Spain. He said that work pertaining to an unbuilt house in Ohio for the patron Peter B. Lewis fills 200,000 square feet of storage space.
+Mr. Gehry says he does not know what will happen to his archive. But Mr. Olsberg of the Canadian Center for Architecture said: 'I know Frank sees it as multiple millions, and it will be. It ought to be.' Even so, Mr. Olsberg, whose center asked to buy only the Lewis house documents, added: 'There are a hundred major architects out there, and their archives are worth one to three million dollars each. They all aren't going to find buyers.'
+THE architect Michael Graves has not been approached by the institutions that are known for going after archives. 'The usual suspects don't go after me,' said Mr. Graves, whose Tuscan watercolors at the Max Protetch Gallery in 1979 set off the craze for collecting architectural renderings. 'My 15 minutes are over. I'm a dinosaur.'
+His archive is now 'in a warehouse somewhere out on Route 1' in New Jersey, said Mr. Graves, who hopes to make his own home an archive open to the public, and might possibly donate it to Princeton University.
+The Getty Research Institute would be pleased if Richard Meier donated his materials related to the Getty building that he designed. But Mr. Meier said, 'I would like my things to go to an institute that would keep them all together and make them accessible, and not just be a repository.'
+If the value of a design archive is its ability to convey to a future generation an appreciation for the past -- its design history, social commentary and labors of love -- then it is perhaps odd that no institution has pursued the archives of Robert A. M. Stern, the architect who so acutely represents the nostalgic yearnings of certain well-to-do Americans.
+As a result, he plans to give them away. 'One day some university will see a truck pulling up with all my papers inside,' said Mr. Stern, who is dean of the architecture school at Yale University.
+Ultimately, the question of who is going to get what may be moot. If the next generation of designers relies on a computer mouse more than a pencil, its archives will all be stored digitally, by the gigabyte. And cocktail-napkin doodles will go the way of celluloid.
+'It's a scary thing,' said Bernard Tschumi, dean of architecture at Columbia University. 'We are a generation in transition.'  DESIGN NOTEBOOK"
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+WHATEVER happened to truly innovative houses? Houses so radical in concept, so bold in execution and at the same time so comfortable and appealing that they made people want to change the way they lived?
+Frank Lloyd Wright's Fallingwater (1935) was one: its rooms flowed as smoothly into each other as the river running under the house. The Maison de Verre, built in 1928 in Paris, revolutionized the way people thought about using glass as a residential material. An entire wall of glass block admitted light while maintaining privacy.
+Those were the days when houses were considered the seedbed for architects' brave notions. In postwar America, architects focused on mass production as the way to make better houses not just for the wealthy but for everyone. While they were at it, they redefined what was formal, what was informal; what was inside, what was out, and how rooms without walls could reflect a more casual living arrangement.
+These days, new houses in America seem to be more about size than innovation. Architects save their inspiration for museums, libraries and performing arts centers. (Even Frank Gehry, who used unheard-of materials like chain link in his own Los Angeles home in 1978, has eschewed houses in favor of designing cultural institutions.) As a result, developers are the ones who decide how everyone should live, and how many Palladian windows to install.
+It is possible to see how house-making could be different with Margaret Nomentana's place in Maine, designed by Scogin, Elam & Bray of Atlanta. Part Zermatt, part 'Three Little Bears,' this 3,600-square-foot house only looks as if it zoomed in from another dimension. It is a direct descendant of the houses that cast off tradition only to make a richer experience of place.
+'The house is the great experiment in American architecture,' said Mack Scogin, an architect and former chairman of the architecture department at Harvard University's Graduate School of Design, who designed the house with his partner and wife, Merrill Elam. 'Not just because it represents the great American dream of owning your own house and individualizing it, but because the reality is so achievable.'
+Ms. Nomentana's fantasy was at first deceptively simple: to build a house on a lake carved out of nature just for her and her three dogs. And it should have an edge as abstract as the contemporary artwork she admires. 'My parents had commissioned a house back in the 50's in the days when people thought architecture could solve all the problems in the world,' she said. 'My parents bought into that.'
+Like them, she wanted a house that dared to be different. Unlike them, she didn't expect it to solve the problems of the world.
+Ms. Nomentana, 53, is a petite dynamo of a woman (just back from kayaking off the coast of Turkey), a trained interior designer and painter who likes her canvases to be at least twice as tall as she is.
+Her architects did not present her with an abstract sculpture spun out of their own intellectual interests, the kind of avant-garde derring-do that people have good reason to dread. That's not Scogin and Elam's design style. The excitement in their work is generated by the belief that the personal experience of home -- the owner's ambitions, as well as her daily chores -- ought to dictate the design.
+From the materials used in the house to the way the layout accommodated her dogs, the architects strove to let their client's ideas guide their hand. When Ms. Nomentana told them of her interest in the minimal beauty of Japanese architecture, specifically the work of Tadao Ando, they chose a cement-based fiberboard (a common, highly durable siding material usually disguised to look like clapboard) that would imitate the look -- but not the cost -- of Ando's concrete houses. The window frames are wood, but painted black to have the more abstract look of steel.
+When their client told them that the dogs needed space, they designed a room and positioned it across from her bedroom because they knew where the dogs really slept. 'The last thing we wanted to do was to put Margaret in a box,' Ms. Elam said. 'The house we did is the opposite of what you'd expect from a house on the lake with a big room and a plate-glass window looking out at the view.'
+Walking through Ms. Nomentana's house -- built on girder-stilts that anchor the house to its steep slope going down to the lake -- is an exploration turned revelation.  Touring the house is like scaling some unfamiliar peak. On a first visit, leaving crumbs seems advisable.
+A short arc of bridge springs from a black metal walk to the pre-weathered zinc door. The bridge handrail looks as elegantly telegraphic as Japanese script. Once through the door, visitors stand inside a three-story cube, walls lined with books. It's the library, and there's a staircase at its center that winds around a glass-enclosed outdoor well, a shaft of nature, which the architects call the impluvium. At top it opens to the sky, and at bottom it is filled with smooth rocks. To get anywhere, it's necessary to circumnavigate the impluvium, but there are no clues as to which way will take you where you're going.
+The experience is disorienting, and thrilling. Toto, we're not in Maine anymore.
+Mr. Scogin said that visitors are supposed to feel a sense of traveling through and discovering new places -- not arriving at a specific room. 'All the spaces are equally privileged, and every one of them has something of interest to offer,' he said.
+Indeed, even the main hall, a kind of spine, is busy with things to look at: views of the lake and other parts of the house through slots of windows; a perilous suspended bridge overhead; paths to follow.
+In one direction is the kitchen, dining room, eating porch and living room, which at 350 square feet feels small, even cocoonlike, because of a massive fireplace and caterpillar-ribbed orange furnishings. 'Margaret specified that she didn't want it to be particularly large,' Ms. Elam said. 'She just wanted lots of glass.' Two solid walls are nothing but.
+To counter the living room's intimacy, a porch explodes, releasing you into nature. Its exuberant design sheers off part of a support wall, veering off at a vertiginous angle. (The sheered wall was the result of a builder's mathematical error, which created a gap that everyone liked so much that they kept it.)
+At the other end of the house, the main corridor makes a sharp left, tracks up a few stairs -- past an office alcove -- and ascends a few more steps to a private wing. Within this part of the house is Ms. Nomentana's bedroom with a black zinc fireplace, her private sleeping porch ('I'm a bed person,' she said. 'I could spend all day in bed reading.') and a separate room for her Champagne-colored poodles: Avalon, Glastonbury and Cornwall, with a doggy door and ramp to their yard.
+Upstairs, the guest bedroom is larger than the master suite. To get to Ms. Nomentana's studio, you must climb a tower, traversing the suspended bridge over the main corridor, with a sheer drop to each side.
+Ms. Nomentana bought the 2.8-acre plot of Maine forest (a two-hour drive west of Portland) when it was under four feet of snow. ('That's really hard for a Southerner to understand,' Ms. Elam said.) Ms. Nomentana was determined to move from Los Angeles after the earthquake of 1994. She chose Maine because that's where she had spent childhood summers.
+From the start her architects were aware that a person alone in the woods might feel lonely. No other house is within view -- even in winter. So, they gave the sprawling house a companionable feeling 'like a village,' Ms. Elam said, 'so that when she looked out the window, she'd always be looking at another part of the house.'
+The effort it takes to negotiate the place is its most exciting innovation. Unlike most modern houses, key rooms are strung out far from each other to make travel time through the house as prolonged, even complicated, as possible. 'Margaret was clear about wanting to be challenged,' Mr. Scogin said. He laments that modern conveniences have sapped the vitality from many houses, making them too easy, too boring, to inhabit.
+Ms. Nomentana -- who as an adult took her last name from the Via Nomentana in Rome -- wanted surprises. When the floor plan showed a kitchen nowhere near the garage (making grocery-portage a long haul), she never blinked.
+This is a difficult house to understand at a glance. The house as journey of discovery defies the Kodak moment. It becomes familiar only with time, like a person with depth, and there are always a few secrets in reserve. More important, it shows that the American tradition of reinventing how to live is still a vital experiment. 'The process was so much fun, I'd do another house in a second,' Ms. Nomentana said. 'Except that there's no reason to ever move again.'"
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+THE phalaenopsis orchid must have, in the wise words of Hollywood, changed agents this year. It is appearing as an interior accessory in Architectural Digest, Elle Decor, Traditional Home, House Beautiful and Real Simple.
+'They're pretty much on every page of every magazine,' said David Stanley, the owner of Horticus in Los Angeles, a flower shop that specializes in orchids. Mr. Stanley's sales of the $35 white phalaenopsis have shot from 100 to 500 plants a month in the last year. 'I can't imagine anyone getting tired of something so beautiful,' he said. 'But it's happening, thank God. I'm sick of them.'
+The furnishings world has always had fashion envy, but it would do well to remind itself that fashion has its victims.
+Every fall season brings its bumper crop of styles and looks for the home, and with it, gently put, a ubiquity beyond belief. Coral, Andy Warhols, square table lamps.
+For every Mombasa bag, the horn-handled handbag not seen at the New York fashion shows last week (it was a waiting-list item in March), there is also a piece, a pattern or a palette that has shown up at one too many parties in the September-October whirl of decorating magazines, catalogs and shops.
+On the horizon: overscaled houndstooth checks. Sailing toward the horizon: the French 1940's. Off the map: Asian fusion, and pink.
+'I wouldn't base my whole life on pink now,' said James Leland Day, a stylist for photography shoots whose own pink apartment is pictured in Living Room magazine. 'I don't think it's over, but it's peaking.' There are also stories featuring pink in October's House & Garden and House Beautiful. Mr. Day moved to a new apartment last month and painted it green and blue.
+'I had to push the envelope,' he said.
+White is the new black this year in design fashion, in particular a 1960's Pop Art movie-set white, seen most prominently in September's 'Glamour Now' Vogue. White leather seemed as kicky as a plastic go-go boot when it showed up last year on Mies van der Rohe's Barcelona chairs in the private Playboy Club-like penthouse at the Park in Chelsea. It is pictured in the new catalog from Design Within Reach, a mass-market modern furniture retailer, on Barcelona chairs and daybeds, traditionally upholstered in black. The English club furniture in the public rooms at the Viceroy, a late-model boutique hotel in Santa Monica designed by Kelly Wearstler, is also upholstered in white leather, not brown.
+'It's beachy, it's crisp,' said Ms. Wearstler, when asked what inspired her. 'I'm a leader, not a follower.'
+Morocco is a popular at-home destination this year, in September's W and October's Chic Simple. 'The Marrakesh thing is over,' said Nate Berkus, a decorator in Chicago, speaking of its power to excite as a style. 'It's everywhere; it's exhausting. The family room as opium den. I wish that was my family.'
+Margaret Russell, editor in chief of Elle Decor, said, 'One too many lanterns.' (September's Elle Decor included a Moroccan-themed 'hippy chic' TriBeCa loft.)
+How does Ms. Russell determine what not to publish? 'You just reach a saturation point, in submissions, like you're seeing the same place over and over again,' she said. Ebonized floors and the '15th take on Christian Liaigre' are Code Red, red not being the new black.
+Ms. Russell still likes toile de Jouy, something of a reprieve. 'When you saw it, you knew it would come and go,' said Mr. Day, the stylist. The French fabric, printed with 18th-century patterns, which streaked through decoration several years ago, fashionable and fresh-looking in modern interiors, has come -- and gone to the bank laughing. Target is selling it, as draperies and pants. Look for toile as place mats from E.A.T. in New York and bedsheets and tablecloths in the Martha Stewart mail-order catalog.
+'The collection is selling unbelievably well,' said Stacy Senior Allan, marketing manager of Thibaut, a wallpaper and fabric company with a choice of 22 toiles.
+'We asked our customers recently about whether it was peaking,' Ms. Senior Allan said. 'They get worried when they see it on pants. But we think it will be a long-lasting trend.'
+Unlike sunflowers.
+'Big in 1994 and '95,' she recalled, like the remotest history.
+Or monkeys.
+'They're cute, but we're tired of them,' Ms. Senior Allan said. 'It was part of the British colonial thing. It's hanging on in parts of the South.'
+Ms. Senior Allan observed that trends now had longer lives because of economic recession and a desire for familiarity.
+'Even in fashion, they're letting women wear things for two seasons instead of one,' she said. 'It's the same in home furnishings. You have to get comfortable with it. They're smart not to let people think they're out of fashion, that they have to redecorate every year. They'll just give up.'
+Jonathan Adler, a popular designer, when asked if he felt at risk of becoming a cliché, or if his work was in danger of being overexposed, said, 'It takes a lot more courage to extend a trend than to start one.' Mr. Adler's signature vases and pillows, with his name firmly attached in captions to pictures, have showed up in more than a few magazines lately.
+'We in New York live in a very rarefied world,' he said. 'Jaded and 'too cool for school.' As someone in the business of selling things, I've discovered how small the jaded world is. And how poor.'
+Mr. Adler, a potter by training, has stores in Los Angeles, East Hampton and SoHo and plans to open a new store on the Upper East Side in November.
+Ikea, the international cheap furnishings giant, has unleashed an advertising campaign to unmoor people from their emotional attachments to household possessions, and to promote disposability in decorating -- a high-speed obsolescence not unlike your standard trend.
+'If you're in a bad relationship with old furniture but don't put an end to it, you are crazy,' reads an advertisement that pictures a sturdy, serviceable table lamp that looks like someone's first spouse.
+How do you learn to love again?
+'If I love it, we adapt it,' said Thomas O'Brien, the president of Aero Studios in New York, and its principal designer. Mr. O'Brien's square-based, square-shaded table lamp, designed in 1992 and still in production, is instantly recognizable, in large part because of the number of look-alikes.
+'It's a classic form from the 1920's and 30's,' he said, acknowledging his own sources. 'I have a big belief in subtle changes, like different finishes, or recoloring, or scale.' Mr. O'Brien explained, 'It's like clothing -- what we retire is the finishing, not the form.'
+Mr. Berkus, in Chicago, concurred. 'Decoration is so expensive,' he said. 'You have to be careful about what you choose, that it doesn't play out quickly. You can call it classic, but . . . a $10,000 sofa -- it's like a commitment ceremony. There should be a blood test.'
+Mr. Berkus advised indulging a taste for fashion in other ways. 'Don't even buy new furniture,' he said. 'Start at the smaller local auction houses. Paint, wall coverings, moldings, lighting, window treatments, carpeting -- the backdrop can change easily.'
+What does Mr. Berkus do when clients come to him with magazine pictures of popular trends in hand?
+'Toile is one right now,' he said. 'You go with something that's similar -- it might still be a two-colored woven French textile, but it's not the Japanese garden scene you're seeing on the cover of Pottery Barn.'
+Joseph Riccio, a New York designer, advised touches, not strokes, that can be quickly erased. 'Pillows, etc.,' he said. 'Bring clichés in as minor elements. As soon as the look is over, it's easier to reinterpret, instead of changing direction.'
+David Netto, a New York designer whose white 1960's-style basement Pop Art playroom project appeared in Living Room, said that it was designed at the client's instruction, which was 'lacquer, lacquer, lacquer -- white was appended to that.'
+'I like not to have a signature look,' Mr. Netto said. 'The first thing I thought when I saw Bilbao was, 'This is great, but I wouldn't want to see two of them.' '
+Mr. Netto's client had contemporary art to display, from a family collection in Houston. Mr. Netto chose work by Chuck Close, Christo and 'small Rothkos.'
+Any Andy Warhols, King of Pop? Warhol's Factory produced, like a 20th-century toile de Jouy, nearly 10,000 silk-screen images on canvas, according to the Andy Warhol Museum in Pittsburgh. Seven, including portraits of Goethe and Jimmy Carter, made cameo appearances in October's House & Garden and The World of Interiors -- as properly bourgeois an interior decoration as a Vermeer in a 17th-century Dutch town house.
+'No,' Mr. Netto said of the job. 'Warhol is exactly what you would expect to find.'
+DESIGN NOTEBOOK"
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+HERE'S an idea. Design innovative furniture. Make it useful. Sell it.
+At London's recent 100% Design, which is Britain's premier design exhibition and now a required stop on the Paris, Cologne, Milan and New York show circuit, there were trends, and there was a new, potential take-away factor, too.
+The bratty British design scene, co-opted by the Blair government in 1997 with its 'Cool Britannia' campaign, didn't drop out. It grew up. The raw thinking and uncommercial energy of newcomers like Inflate, a company that in 1995 showed lights blown up like beach toys, is showing responsibility as well. Inflate has spent five years investing in manufacturing machinery. This year it showed up at the sixth annual British show with an inventive, inexpensive bed, as in, try to get a mass market to lie in it.
+London's student princes are like all people you know in their 30's -- a few years on, still fun, working on commitment. The city's four-day calendar of design events was more like a proud new house tour, home by 10, than like the old late-night clubbing.
+From architectural tilework to tabletop ceramics, from living room lounge seating to workplace desks and chairs, the new design was radical in its applicability, as much as in its forms or materials.
+Even at Designersblock2000, an off-site event staged in St. Pancras Chambers, a derelict 19th-century Gothic railway hotel, the newest designers were showing things that looked more like furniture than ideas -- pragmatic, original updates of the everyday with little nostalgia for the uncommon or conceptual. What was revolutionary was their confidence that design was now viable with the public.
+At the official exhibition at Earls Court 2, which ran from Oct. 5 to 8, British designers and their European colleagues were translating excitement into maturity: a new practical wisdom about what people want and how to get it to them. Maybe, wisely, they understand that designers who want to stay in the profession have no choice.
+Even the conceptual work -- and it was strong -- had its feet on the ground. There were several collections of furniture for children, including Biscuit for Oreka Kids (www.orekakids.com), a new company, whose 10 designers were a virtual roundup of the avant-garde names of five years ago. And babies and children were the big vogue everywhere, including a 7-year-old girl in a silver shag-rug A-line dress with matching shag pillbox hat leaving the Christopher Farr party in Notting Hill. How much realer can you get?
+The exhibition, a trade show open to the public, was largely of prototypes or new products being previewed for manufacturers, the interior design trade and retailers. (And the actress Charlotte Rampling, who walked by during the kickoff cocktail party, tawny as a prize cat in a leather jacket and ankle-high plaid pants, and froze Sir Terence Conran in his tracks.)
+But in great evidence at 100% Design was the fact that the designers and companies, especially the new names, have Web sites to visit and to shop at -- with collections, not selections, of their work. You don't have to wait for a local design store shopping the show to pick it up and bring it back. In addition, the shipping and handling on a direct order could be less expensive than a shop's markup.
+The satisfaction expressed by exhibitors this year was the same as the dissatisfaction: the show, which is now five times the size it was in 1995, included major companies like Ligne Roset and Wedgwood, and lacked the unholy rudeness and punkish presence of the unpolished, independent designs that gave it its reputation.
+'I see excitement now very differently,' Nick Crosbie, 29, a founding partner in Inflate, said. 'I look at the stands of the big companies, and I can really appreciate what they've done to construct that credibility. Five years ago, I would have looked and thought, 'That's really boring.' '
+Inflate's big product introduction, Snoozy, a plastic, pop-apart bed, easy to ship and store, is manufactured with a process used for making highway cones. It is intended as a midprice alternative ($:585, or about $850) to the low-end futon and the high-end designer bed. It will be available at Inflate's Web site (www.inflate.co.uk).
+'Production is as important as design,' Mr. Crosbie said. 'To make a real product, rather than just being on magazine pages. If you can't buy something, then it doesn't actually perform its task.'
+ANDREAS ENGESVIK, a partner in Norway Says (www .norwaysays.com), a young Norwegian design collective, showed a tiny, upholstered armchair called Tennis that looked like a space-saving Muppets version of Harry Bertoia's classic Diamond wire chair for Knoll. Mr. Engesvik's colleague, Frode Myhr, who was still in design school when Norway Says exhibited in Milan in April, sat in Birce, his red flying carpet of a seat on steel, voicing concern that the traffic was too light. Though tender in age, Norway Says means business -- it sold a half-dozen designs shortly after showing in Milan, to Herman Miller, Saporiti and other companies.
+Down the dank hall at Designersblock2000, Thomas Winkel and Tobias Jacobsen, Danish designers, displayed Tatami, a dining table that folds down, like a horse kneeling, into a low bed.
+'It's a new way of giving furniture an expression,' Mr. Winkel (thomas@winkel.com) said, speaking of utility. 'I feel that when there's a lot of furniture in your apartment, it takes away your freedom.' Mr. Winkel, who lives in a small apartment in Copenhagen, demonstrated by pressing his back against a crumbling wall.
+At 100% Design, there was much of the same practical-minded versatility -- a kind of suggestiveness in objects that was smart and fresh. 'Not prescriptive, but multifunctional and playful,' said Michael Marriott, who organized the designers for Oreka Kids.
+'We thought about how kids use adult furniture as toys,' Mr. Marriott said. 'Playing under the table, or in a box.' His Nice steps-and-storage design ($:270, or about $390) also rolls and has a crawl-in cabin at the back -- the cockpit for a rocket ship or a racing car. It also makes a handy television and VCR stand.
+'It isn't going to be cheap, like Ikea, so we wanted to give the pieces longevity,' Mr. Marriott said. 'They don't end life as children's furniture.'
+Schmidingermodul's storage system, designed by Harri Koskinen, is built upon modular, molded birch plywood cases with the rounded corners, liftable lids and carrying grips of suitcases -- baggage for the house. They also stack as pedestals or sit squatly in a sequence, to make benchlike seating (www.Schmidingermodul.at).
+Like much that was seen at the exhibition and elsewhere that week, the designs were startlingly low-tech. The best technological innovations involved explorations with traditional materials. Lubna Chowdhary (lubna.c@virgin.net) showed ceramic tiles with the color fields and surface relief of Abstract Expressionist painting.
+Foundation 33, the London-based team of Daniel Eatock, an English graphic designer and Sam Solhaug, an American architect, displayed simple plywood tables. Their concept is in the investigation of the material in their construction: a basic 4-by-8-foot sheet of plywood is cut into thin strips, then glued, sanded and laminated into a minimal but beautifully striated surface. There is no waste of wood; the tables are 33% lighter than the sheets they are constructed from, because of the sawdust lost in cutting -- hence the team's moniker (www.foundation33.com).
+Mari-Ruth Oda (Mari
+DESIGN NOTEBOOK"
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+BEFORE the jet age, when ocean liners were built to cross seas, not cruise them, passengers would sit in wooden deck chairs and promenade the long teak decks to exult in the grandeur of the world's biggest landscape.
+Now, it's the ships that are breathtakingly big. And while cruise companies defend the bigness -- 'Our ships still look like ships,' said Julianne Chase, a spokeswoman for the Holland America Line -- it seems that the ocean is being eclipsed. It's a new challenge for designers.
+By the year 2000, new cruise ships will be carrying as many as 3,000 passengers, said Steven Gordon, publisher of Star Service, a travel industry guide, adding that just a few years ago, 800 seemed big (the Titanic carried only 2,200). 'You can't put 3,000 deck chairs out,' he said.
+Richard Sasso, president of Celebrity Cruises, calls them 'floating cities.' Celebrity has launched three in the last three years, including the 1,870-passenger Mercury in October.
+Travel experts say cruises are more popular than ever, with movies like 'Titanic,' oddly enough, attracting younger passengers. But unlike the old liners, new pleasure ships,  built to hop from port to port, are packed with air-conditioned amenities that make the out-of-doors seem beside the point.
+The focus has moved indoors to spas, lounges, lobbies, casinos, theaters and much grander cabins. 'You're never sure whether you're in a Liberace casino, a cucaracha lounge, or the Peachtree Center in Atlanta,' said the architect Lee Mindel, who designed some of the Mercury's interiors.
+Whatever happened to the water?
+When Celebrity Cruises (now owned by the Royal Caribbean line)  asked Mr. Mindel and Peter Shelton, of Shelton, Mindel & Associates in New York, to design the main dining room and other public spaces on the Mercury, the architects had one priority: to reverse the prevailing trend and remind passengers they are really at sea.
+But the spaces still had to be snappy enough to wow the regulars and strong enough to hold up against bold schemes in rooms designed by other noted firms -- including Birch Coffey Design Associates of New York -- that had been hired to make the Mercury what Mr. Sasso calls a 'five-star, upscale, premium product.'
+In addition, Shelton, Mindel had to figure out how to maintain the firm's own standards for warm and elegant modernism.  'Simplicity is probably the most complex thing to execute,' Mr. Mindel said.
+Le Corbusier, in his 1923 primer, 'Towards a New Architecture,' rhapsodized about the natural modernism found in ships, citing as an example the teak-and-steel promenade deck of the Empress of France: 'An architecture pure, clear, clean, neat and healthy,' he called it, unfettered as it was by 'carpets, cushions, canopies, wallpapers' and other comforts then in favor with modernism's opponents.
+But in the 'feeding frenzy of accouterments,' as Mr. Mindel describes cruise ship design, Le Corbusier's ascetic is not easy to pull off. Initially, Celebrity Cruises 'wanted to soup things up, add more embellishments, put shoulder pads on everything,' Mr. Mindel said. To win them over, he and his partner made a computerized movie in addition to the usual drawings to show just how dynamic their elegant design would look in reality.
+Eating is the main activity on a cruise ship -- and Shelton, Mindel designed the Mercury's main dining room, the Manhattan Restaurant.
+Demetrios Kaparis, the naval architect,  had put the dining room at the very back of the ship instead of in the usual midships location, and had squared off the stern in a two-story picture window -- a feature Mr. Kaparis says is unique to Celebrity ships (three of them have it).
+'With the aft sheared off, you see the wake of the ship trailing behind you, the thrust of the water, and begin to feel the power of the movement,' Mr. Mindel said. 'The view is panoramic, almost cinematic, and that's what started to generate our design.' The problem was the view at night, when the sea turns black and the big picture window becomes a mirror. So for evening, the architects ordered up photo murals of the Flatiron Building. They slide from the ceiling like stage flats for a big Broadway musical.
+The double-height space feels urbane. Tall, timberlike columns wrapped in teak-stained cherry flank a long, sleek staircase railed with stainless steel. Overhead looms a giant steel chandelier inspired by one designed for the Empire State Building.
+The architects also gave the dining room a 1930's-inspired wool carpet on which abstract flocks of birds seem to be soaring over a deep blue sea. 'We wanted it to look as if Cubist gulls were following the wake of the ship,' Mr. Mindel said.
+A bold interior was necessary to absorb the bright daytime glare. 'Inside, you need a strong palette of clear, bright colors,' Mr. Mindel said. So the architects chose a mix of red, white and deep blue.
+'They are nationalist colors,' he continued, adding that they are meant to evoke 'great institutions and the great ships like the Ile-de-France and the Queen Mary.'
+The architects designed two other public spaces, Rendez-Vous Square and the Aft Atrium. In the Aft Atrium, two bars on top of each other -- one for martinis, one for  champagne -- are housed in a three-story, cherry-wood cylinder. To enhance the vertical line, they studded the cylinder with small recessed light fixtures and steel rivets. Bubbles abound in laser-etched glass walls that the architects call 'faux holograms' and in the bubble-pattern carpeting.
+On the wall behind the cylinder, a mural of wavy ribbons by Sol Lewitt lends color. It is part of the Mercury's 400-piece floating collection of contemporary art.
+The Mercury's cool-weather route is from Florida to the western Caribbean and the Panama Canal. From June to September, she heads up to the North Passage. In Alaska, Mr. Mindel explained, the big, cinematic window of the Manhattan restaurant frames a real show-stopper: pure ice."
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+On the face of it, they couldn't be more different.
+Dakota Jackson, one of America's few celebrity furniture designers, appears to create from the gut; Peter Eisenman, the famously iconoclastic architect, from the brain.
+Mr. Jackson is a mini-industrialist with a highly successful, streamlined factory operation. Mr. Eisenman is by nature an academic -- a chaotic businessman who claims to be $500,000 in debt despite large new projects on the boards (a Holocaust memorial in Berlin, a stadium-convention center for the Arizona Cardinals).
+Mr. Jackson is the darling of shelter magazines, Mr. Eisenman of highbrow college journals. Mr. Jackson luxuriates in materials and craftsmanship. He lovingly caresses the blond maple wood of his Library Chair, waxing poetic about its curves and joints. Mr. Eisenman could care less about the tactile. 'What's it made of?' he shouts to a staff member when asked about the construction of a canopy in his current project: the new Dakota Jackson showroom and West Coast headquarters in the Pacific Design Center.
+So one wonders what brought them together. Could it provide Mr. Eisenman an entry into Los Angeles, home of his friend and rival Frank Gehry, where Mr. Eisenman has never built? But this project is tiny, Mr. Eisenman insisted by phone from his office in  New York. 'It's just a dumb showroom,' he said. And if it gives him entry into Los Angeles, it's 'by the  back door,' he explained. Still, it is a beachhead for both men, stars in their worlds, known as much for their powerful personalities as for their work. So 'dumb' or not, the showroom -- and their unexpected collaboration -- is the talk of the design world.
+Given the traditional animosity between architects and interior decorators, the Jackson/Eisenman pairing is even more unusual. Many architects, particularly those of the 'high art' school, despise the makers of chintzes and overstuffed armchairs, even ones with the restraint of Dakota Jackson's. And the feeling is mutual. Moreover, the architect often hires the designer; in this case it is the reverse -- 'a good  feeling,' Mr. Jackson said.
+Mr. Jackson is notoriously charismatic, as he demonstrated in a recent preview of the new showroom. He is tall, with wavy, graying hair, aquiline features and the ramrod back and gait of a dancer. Wearing a loose black suit and black turtleneck, he glided through his new creation, expounding on art, Freud, magic and, above all, on his art, his furniture.
+'My focus has always been on the object and how it might influence different kinds of relationships with an individual,' he said. Standing before a mint green and black cocktail cabinet, with eyes fixed on a visitor's, he related how it started as a  vanity, inspired by his fascination for his wife and for all women. 'I was intrigued with her doing her makeup and this idea of the kind of ablutions one goes through where transformations occur.'
+Clutching the plump leg of a dining table in his new Ocean line, he elaborated on the human connection: 'I've always looked at chairs as forming this very intimate relationship with the human body, and so having it suggest body parts has always been of interest to me. Is it satisfying, is it appealing, or is it repulsive to have these very meaty, very dense, almost overscaled limbs next to you?'
+Then, drawing the visitor to sit close beside him -- disconcertingly close -- on chairs placed side by side,  he discoursed on the contradictions between the cerebral and the romantic, the sensual and the restrained.
+Mr. Jackson's career took off in the mid-1970's with the design of a desk for Yoko Ono, as a gift for John Lennon. Its unfolding leaves and concealed drawers drew on tricks of the family trade -- magic. The son of a magician and a former magician himself, Mr. Jackson has evolved from sometime dancer and one-off object maker to the stars into a mass-production designer with several lines of residential and contract furniture, pieces displayed in museums in Europe and the United States, 140 employees, two factories with computerized robots in Long Island City, Queens, and plans for an architecturally provocative industrial park, perhaps in Queens.
+But despite his talent and salesmanship, Mr. Jackson declares himself to be a pessimistic and nervous person. At 48, he had arrived, he said, at a point in his life where he needed to expand his vision and he wanted to bring an edge into his work. To that end, he hired Mr. Eisenman to design the new showroom.
+Reviled and adored in equal measure for his role in subverting the art of architecture into a cerebral game, Mr. Eisenman has made a career of designing buildings based on abstruse theories and creating a lot of noise about it. He enjoyed spectacular eminence in the late 1980's, when he became the high priest of Deconstruction, in which he applied the linguistic theories of post-structuralists like Jacques Derrida to architecture, and went from being largely a 'paper' architect to receiving large commissions. The Wexner Center for the Visual Arts and the Greater Columbus Convention Center, both in Columbus, Ohio, are examples of his seemingly gravity-defying, disquieting designs.
+Like Mr. Jackson, Mr. Eisenman, 65, can be charming, albeit in the manner of the stand-up comic who makes you feel special by insulting you. He can be engaging and viciously witty, refreshing in a profession where wit is in short supply. And he is notorious for a Svengali-like grip on students and young architects who clamor to work free for months in his office; for much-vaunted neuroses explored at one point through two -- yes, two -- psychiatrists, one in Los Angeles and one in New York, and for an ambition to control architectural discourse.
+Mr. Eisenman said he would not normally do a project like a furniture showroom. But when Mr. Jackson proposed the idea -- Mr. Jackson was in bed with the flu that day, 'feeling slightly delusional,' he said  -- Mr. Eisenman jumped at it.
+Why did he take the job? Mr. Eisenman gave a simple answer: they liked each other. 'Dak Jaks is very seductive,' he said, using his pet name for the designer.
+So, apparently, is Mr. Eisenman. 'Peter is so charming,' Mr. Jackson said. 'And he's very clever.' He cites Freud as the inspiration for their friendship. 'What appealed to me about Peter,' he said, was 'the notion of anxiety' visible in his work.
+The two, who met by chance on a school boat trip for their children, have become good friends. Mr. Eisenman met Mr. Jackson before he saw his furniture, and he now critiques his work, telling him he's 'got to move on.'
+Mr. Jackson points out that the clumsy, tapering legs of the Ocean collection (a more refined version of the overscaled, sloping forms of designer furniture seen in recent years in Los Angeles) have the awkwardness and sense of perpetual imbalance characteristic of Mr. Eisenman's work. But in turn, Mr. Jackson chides Mr. Eisenman, 'Peter, you've  got to make things beautiful.'
+So, finally, what of the showroom? The new home for Dakota Jackson is on the ground level of the Pacific Design Center, Cesar Pelli's gargantuan blue and green glass honeycomb of decorators' showrooms at the epicenter of the Los Angeles interior design world. It is a 36,000-square-foot shoe box that Mr. Jackson and Mr. Eisenman have rendered beige -- beige-painted walls and beige flooring.
+'We didn't want stark, and we didn't want cozy,' Mr. Eisenman said. Dispersed throughout the space are Mr. Jackson's past and present furniture designs, a profusion of mahogany and blond wood chairs and tables and honeyed fabrics. The distinctive feature is a large canopy in the front portion of the showroom -- a white-painted, theatrically light metal structure, aluminum on a steel frame, with three asymmetrical flanges, creating 'energy in space,' Mr. Eisenman said. Two of the tapering flanges are anchored in the floor; the third lodges in a wall.
+The intention, Mr. Jackson said, was to create an 'awkward moment' in an otherwise 'dumb space.' This leaves the chairs free to do the talking, which is, after all, the point of a furniture showroom, as both architect and client acknowledge. And that is what they have achieved. The canopy provides a mild frisson, but in the end, this is  still a furniture showroom, pleasant but architecturally polite. It won't scare off any Beverly Hills matrons. Mr. Jackson wanted 'edginess' in his new showroom, but not enough to edge out his market.
+He said that when he chose Mr. Eisenman he was, in fact, a little concerned about how it would affect  his company's image. But his decision was idealistic. 'I wanted to capture the expansiveness of the post-war modernist designers,' he said.  'Peter grew out of that tradition. He has that heroic vision.'
+A heroic vision that might be lost  on some. 'I didn't know what it was -- it was an obstacle I hadn't counted on,' one early visitor was overheard to say, referring to the canopy. 'It was blocking the view of a very beautiful cocktail cabinet.'
+Frances Anderton, the former editor of L.A. Architect, is a producer of 'Which Way, L.A.,' a current-affairs program on KCRW-FM, a public radio station in Los Angeles."
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+PERHAPS Los Angeles seems like a city without a past because the better part of its architectural history this century has been modernist: the clean stucco planes and crisp corners were conceived to look forever new.
+Already in the teens and 20's, the architects Irving Gill, Frank Lloyd Wright and the Viennese prophets R. M. Schindler and Richard Neutra came here as though to a promised land, establishing the start of an enduring modernist tradition.
+That tradition of experimental architecture is now five, going on six, generations long, and a group exhibition at the Pacific Design Center in West Hollywood -- 'New Blood: 101' -- showcases 101 emerging voices.
+A continuous easel of panels hung on metal studs marching down a wing of the Pacific Design Center -- the installation was designed by Robert Hale -- attests to Los Angeles's depth on the design bench, and the critical mass of projects, some real, some hypothetical, implies that there are schools, clients, land, attitude and bank loans behind what may be a unique architecture culture within the United States.
+The organizer of the show, the architect Bernard Zimmerman, who has a three-decade track record of timely group exhibitions, decided to look beyond the usual suspects -- Frank Gehry, Thom Mayne, Eric Moss -- 'to expose, reframe and validate emerging or reinvented design practitioners hidden from view by standard routes of power,' he writes, somewhat stiffly, in an introductory overview.
+By inviting designers in other disciplines, Mr. Zimmerman and a selection committee also make the point that the architects are part of a larger interdisciplinary pool in which the boundaries between graphics, fashion, photography, landscape, industrial design and video are liquid.
+Each of the 101 architects and designers presented a cluster of four panels, and collectively the panels show there is no single line of thought here, but an impressive range and intensity of research.
+As in past decades, the house in this city of single-family homes is still the most frequent medium of invention, because it is the most accessible to the small firms that are the Los Angeles norm. Sometimes, the commission that proves a talent is simply a small addition or modification to a house, as in a kitchen with a strikingly inclined roof by Dagmar Richter or a dynamically shaped two-story entry space with listing walls for an existing Santa Monica bungalow by Scott Parker, of the William Taylor Architecture Studio.
+Joe Addo, an architect involved in the restoration of the Watts Towers, captured all the drama of living on the hills of Los Angeles with a house in Palos Verdes whose glass-walled rooms project into space.
+To judge by the panels, all phases of modernist history are currently subjects of investigation and reinvention. Architecture in the embrace of nature, the machine in the garden and the influence of Japanese buildings are still familiar themes and issues in Southern California, though in the hands of an architect like Jeffrey Daniels, the leaning forms, with a hint of cartoon dynamism, make them new.
+The lowly 2-by-4 has provided a great assist to the prevailing climate of design freedom. The postwar promise of mass-produced housing was never realized, because steel never quite won over the cowboy contractor with hammer slung at his hip. Wood remains the material of choice and economy. Wood studs flex in earthquakes and are highly malleable, lending themselves to ad hoc site decisions and custom tailoring. A bedroom addition by Lanier Lubowicki, with a large volume telescoping into smaller living areas, emphasizes wood as both structure and esthetic.
+When steel appears, it is as exception rather than rule. Two houses by Finn Kappe mix messages by combining wood and steel, as well as surface finishes made of different but complementary materials -- glass, metal, wood, stucco, stone. Mr. Kappe does not strive for the purity often associated with modernism but for complex character that embraces both the warm and the cool.
+In this city of maverick small-scale entrepreneurs, the relative absence of a corporate mentality is mirrored in the design community, which is constituted largely of boutique operations in which a single person, or two people of the same mind, determine the design.
+Some architects have succeeded in extending that independence to a scale beyond single-family houses, as in a housing and community center by Hok Sik Son, a former Gehry associate, where he breaks the so-called dingbat formula of standard low-rise stud-and-stucco housing with an apartment block packed with units elegantly wedged at an angle: the jostled balconies on the facade express the angled internal organization.
+Modernist design here was radically transformed two decades ago by Mr. Gehry, who deliberately mixed art into his architecture, and about the same time by the Southern California Institute of Architecture, an alternative school founded by Finn Kappe's father, Ray, based on experimentation.
+The fallout for many designers is a practice of uncertain, apparently chaotic geometry. Michele Saee, who teaches at the school, wrote on his panels that architecture cannot represent 'the Big Machine of a Newtonian world' any longer. The fractal geometries of his design sketches resemble a Richard Chamberlain crashed-fender sculpture.
+One casualty of these investigations is modernism's famously flat roof, which has been bent and folded into strangely beautiful topographies, as in Janek Bielski's design for St. Vibiana Cathedral in downtown Los Angeles. Similarly, a long roof of a low-slung house by Melvyn Bernstein has the profile of a readout from an electrocardiogram that concludes in a heart attack.
+The resistance to corporate culture, and the ethic and cult of individuality, has found its way even into some large-scale corporate firms and from there into major institutional projects. Mehrdad Yazdani, formerly with Ellerbe Becket and now with Daniel Dworsky, displays on his boards a poetically complex Los Angeles subway station at the corner of Vermont and Santa Monica Boulevards, nearing completion, with elliptical shapes inside and out, and elaborate stainless-steel armature for air ducts.
+A premise of the exhibition was to show architecture within a larger visual culture, to reflect 'a more pluralistic, heterogeneous sense of design in our community,' Mr. Zimmerman writes. The furniture designer Lisa Krohn created a collection of looping-metal chairs that look like line drawings in space -- some have become instant classics.
+In a panel called Transarchitectures, Marcos Novak -- a teacher at the University of California at Los Angeles -- speculates on the impact of cyberspace and physical space on each other in geometrically complex computer images.
+With Los Angeles's modernist design culture now a decade or two shy of being a century old, there are several distinct design genealogies. The Gehry office has spawned several smaller firms, including those of Michael Maltzen, Daly-Genik, Narduli-Grinstein, Greg Walsh and Hagy Belzberg, who exhibited highly dynamized plans of a house that juts out from its hillside site like a wing taking flight.
+In an exception to small-scale explorations, John Lumsden -- whose father is Tony Lumsden, an eminent Los Angeles architect -- produced high-tech, high-rise buildings of virtuoso complexity, the pristine shapes beautifully sheathed in anodized aluminum.
+'New Blood: 101' may be a large show without a single viewpoint, but scope and pluralism are precisely the issue, and if the shape of the exhibition seems formless, the high standards of selection keep it from mere cheerleading.
+Pandora escaped from the architectural box here some time ago, and she is still very alive, well and kicking conventions.
+'New Blood: 101' runs through April 30. It is available on line at www.volume5.com.  DESIGN NOTEBOOK"
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+TIMES are changing. Redecorating, you might say.
+This is nowhere more apparent than at the 32nd annual Kips Bay Decorator Show House at 603 Park Avenue (64th Street), which opens to the public on Tuesday and is on display through May 31.
+In the pantheon of a place like Kips Bay, decorating's Academy of Motion Picture Arts and Sciences, where decorators are invited to exhibit in a kind of celebration of their arrival as prominent professionals, Thom Filicia, 34, was a basic nobody five years ago.
+But as one of the Fab Five on Bravo's 'Queer Eye for the Straight Guy,' Mr. Filicia is a television star today. He has never exhibited at Kips Bay before, and he is undoubtedly the most famous designer in it. With no licensing deals, coffee-table monographs or any of the traditional apparatus for decorating fame a year ago, pre-TV, Mr. Filicia is now the celebrity spokesman for Pier 1 Imports. He has two fan clubs -- one official and one unofficial. And he is the figurehead for an office makeover contest sponsored by Xerox and Entrepreneur magazine. When you request information about Mr. Filicia, you talk to his manager, not his office.
+In the world of prime time and not the polite pages of Architectural Digest, Noel Jeffrey, 61, who has shown at Kips Bay 10 times and is by rights the grand old man of the house, is a basic nobody.
+But Mr. Jeffrey -- a consummate professional whose work, to judge by his almost academically appointed salon for this year's Kips Bay, is only getting better -- will undoubtedly be working, client by client, in the years to come. And Mr. Filicia, who said he works with his decorating roster largely by telephone between airplanes, and who designed a bathroom for Kips Bay in a partnership with Waterworks, a high-end fixtures showroom, could be water circling the drain if 'Queer Eye' loses its gleam and the endorsement deals dry up.
+Still, the tide is clearly turning toward a new, different awareness of decoration. If the 25 designers are to be believed on the subject of their ages (and this gets as tricky as dating French furniture), the median age of participants this year is 44, an astonishing low for the rarefied fraternity of Kips Bay. The 2004 show house looks and feels younger, too, a reflection of both the decorators and their clients, who are now in their 30's and 40's as well as 50 and beyond. And they are a group as likely to watch Mr. Filicia, or any of the 'reality' decorating shows, in the evening over takeout as they are to attend the Winter Antiques Show.
+'A lot of designers feel I've raised the bar as far as makeover shows go,' Mr. Filicia said in a telephone conversation on Monday.
+An advertisement in the Kips Bay catalog for Elle Decor magazine, whose average reader is 40 years old, sums up that younger clientele neatly, calling it 'The New Generation of Affluence.'
+Jeff Lincoln, a 41-year-old decorator exhibiting for the third time, agreed that a shift in taste and practice is under way. 'The clients have gotten younger,' he said. Mr. Lincoln's clients, often young families in the New York metropolitan area, are typically what he described as 'Wall Street meritocracy types' who are investing substantially in real estate and want comfortable homes that don't lose sight of their precociousness as young people.
+'They're more adventurous, more open to ideas,' he said. 'They don't feel they need to copy their parents. Decorating used to be a junior version of what they grew up with. Now they want homes to reflect their own personalities.'
+How this translates into decoration is apparent in Mr. Lincoln's sitting room. It has a desk in the style of Louis XVI, but executed in industrial stainless steel. The pillows that dress the sofa and armchair have Warhol-like pictures of Chairman Mao. The juxtapositions and references are as immediate as the message on a T-shirt.
+In a large wood-paneled living room downstairs, designed by Eve Robinson, 39, an air of decorum and formality prevails. But the signature pieces of art and antiques are two painting-size contemporary photographs and a midcentury modern sofa by T. H. Robsjohn-Gibbings. The 'chandelier' is a light fixture with a double-drum shade more appropriate to a late-model restaurant. As befits its Park Avenue corner location, it is still an important room. But the restraint evident is not propriety or stiffness: it is more along the lines of an attractive young mother who has conscientiously recovered her figure. The presumed occupants, like Ms. Robinson's clients, want design excitement, but they don't want to be out of touch with their money when they put their car keys down.
+'They want a home for today, but not trendy,' she said.
+NOTICEABLY absent at Kips Bay is the 'Las Vegas Liberace' quotient, the showstopping that makes new reputations or, like hair spray, keeps old ones cemented in place.
+And in what has got to be a first, there is art-world appropriation and intellectual parody. On the fourth-floor landing, Dave and Chris Faust and Noël Shields of Faust & Shields Decorative Arts in Pottersville, N.J., based a mural of a forest on paint-by-number kits.
+'So much decorative painting is about faux effects, like trompe l'oeil,' said Chris Faust, 39, who said he and his twin brother, Dave, fine-art painters by training, got their idea from the Gerhard Richter retrospective at the Museum of Modern Art in 2002.
+Scott Snyder, 43, a traditional decorator who designed a full French Empire dining room that looks aristocrat-ready, is so self-consciously out of step with the rest of the show house that his work might be an installation piece at the Whitney Biennial. Eclecticism 'R' Not Us.
+'Decorating is very expensive -- we all know that,' he said. 'Even Crate & Barrel adds up. If you're going to spend money, it's nice to have something to show for it. I don't like lavender Ultrasuede.' Estimated retail cost of the dining room, as per the designer: $1.6 million.
+Mr. Snyder happens also to be the decorator for Mr. and Mrs. Sherman Cohen, who own the 25-room 1920 neo-Federal property that Kips Bay is occupying this year.
+'This is a $30 million town house,' Mr. Snyder said. 'It deserves a formal dining room. I don't consider this a fantasy.'
+Across the hall is Mr. Jeffrey's drawing room. As Kips Bay's resident master this year, his assembly of Art Deco and fine French furniture, modern art and neo-Classical antiques, is a lesson in balance, if not populism. But it has a distinctly American cast, the America of entrepreneurship that has settled into money and privilege and that wants to explore design patronage -- not unlike the clientele showing its force in the rooms by Ms. Robinson and Mr. Lincoln elsewhere in the 2004 show house.
+There is a Cubist painting over the fireplace by Burgoyne Diller, an American, done in 1932. The effect recalls the apartment created by Jean-Michel Frank for Nelson A. Rockefeller at 810 Fifth Avenue in 1939, with murals by Matisse and Fernand Léger above the fireplaces. Mr. Rockefeller, then 31, and Mary Todhunter Clark Rockefeller, his wife, were themselves a young family -- five children under 7.
+Mr. Jeffrey, asked whether that apartment was a model, said: 'No. But I know the room very well. And my work is influenced by design like it.'
+Attendees to the house take note: great clients also make great design.
+DESIGN NOTEBOOK"
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+LAST week some of us in the House & Home section burned our fingers, roasted tiny marshmallows on skewers and worried about the soft drift of ground plastic foam that flecked our clothing and floated in and out of the flames of the three ventless fireplaces set up in a photo studio in our office. (The day before, there had been a holiday gifts shoot; the foam 'snow' was left over.)
+Lacking any sort of fireplace feature (as they say in the hearth business) in our own homes, we had long been intrigued by the ventless or gel fuel fireplace -- a sort of supercandle powered by a Sterno-ish fuel (like ethanol or isopropyl alcohol) in a chimneyless ersatz hearth -- and ordered in a few to test. We were particularly drawn to new slick-looking European imports that recalled either flat-screen television sets or hurricane lamps.
+Patrick Lane, director of e-commerce at Southern Enterprises, an American company that puts gel fuel into traditional-looking mantels, said that even though the European models are brand new, his company has been selling ventless fireplaces for about three years, at a rate of about 10,000 a year.
+'We are the shameful secret of the fireplace world,' he said. 'It's been a fun niche for us.' Mr. Lane sent his best seller, the mahogany-stained Paula model, to test alongside the glass and steel numbers from Europe that arrived for sale in the United States this month, at Arango Design in Miami and Lekker home furnishings in Boston, among other retailers.
+We were curious, and a bit apprehensive. What kind of heat does an alcohol fuel throw? Does it make a proper flame? Does it smell like camping? Could you roast a marshmallow, your toes, your apartment?
+We phoned the New York City Fire Department to inquire whether the devices and the fuel were approved for use.
+'They are very new to us, and so we haven't much to say about them yet,' said Jim Long, a Fire Department spokesman, who said the department has no records of any accidents or problems. 'We will do a thorough investigation of them,' he said, adding, 'Some background information for you to consider: think about how decorative and how nice candles are, and how deadly.' It seemed best not to tell Mr. Long about the plastic snow.
+A note on fuel: it comes in two forms, liquid and gel. The liquid is about $9 for a one-liter bottle, and is supposed to burn for four hours, although a half bottle burned for only one. The gel we used only for the Paula fireplace, because that's what its manufacturer sent. The gel crackled, which was nice; we also liked the fact that we didn't have to touch it or do any pouring. It lived in its can, as Sterno does.
+Both forms of fuel smelled the same -- vaguely fondue-pot-ish -- which wasn't unpleasant, but we missed the wood-smoke aspect of a traditional fireplace. Many retailers promote ethanol fuel as being an environmentally happy thing. Ethanol, pointed out Robert Niziol, an executive at Planika Decor, a Polish manufacturer of glass fireplaces as well as liquid fuel, is made from some sort of living crop. 'Ours is made from potatoes, like vodka,' he explained proudly.
+BLOMUS CHIMO FIREPLACE -- $1,260 at Lekker Home, lekkerhome.com or (617) 542-6464.
+This is the fireplace that takes its aesthetic cues from a flat-screen television set. Over two feet square and six inches deep, it is designed to be mounted on a wall, but assembling the Paula was so exhausting that we just sat the Chimo on the floor against a metal stool.
+It has a rectangular reservoir, which was easy to fill to three-quarters of its depth with liquid fuel. The reservoir is covered with a grate, and features a nifty damper that can be pulled over the open part with a huge forklike tool.
+We were inclined to like this one the best; we could imagine it on our walls at home, and felt very excited. Sadly, its flame was a dim little thing, barely three inches high. Size matters with the Chimo, since its hearth (imagine the screen of a television set) is so large and black. You want the flame to cover at least half its expanse, as it does in promotional pictures like the one at top right. Had the reservoir been filled to the top, it might have produced a more satisfying conflagration, but we were anxious about causing a full-on building fire.
+One person described the effect as being like a hibachi in a really expensive frame. 'Too broilerlike,' another said dismissively. Somebody was reminded of a subway fire (the grate is very much like a street grate), and that seemed sort of interesting, as if there were a fire beneath us, but only for a moment. The flame threw no heat, but the back of the hearth, which is metal, began to warm up after 10 minutes or so. In the end, however, 'cold' was the vibe consensus.
+GENIOL GLASS FIREPLACE -- $750 at Arango Design, arango-design.com or (800) 279-1602.
+Here is the beauty queen of the category. Though many of us dismissed it as just a huge candle -- David Russell at Arango in Miami said his customers set it out on their coffee tables -- some liked the purity of the thing: it's all about the flame.
+Because it wasn't filled with enough fuel the first time, it had to be refilled and relighted, and both times its ignition made a terrifying 'pop,' like a gas stove exploding. Once lighted, though, the flame was higher than any of the others; further, it was reflected in the glass, giving it a lovely heft and texture. (The Geniol also has a neat damper: a disk of metal hanging from a metal cord.)
+One person, who preferred the Chimo for its proscenium shape, remarked that a flame in the round could satisfy 'a floor-hugging 'groovy' crowd of fondue-sters.' Another shrugged it off as 'pagan ritual.' Most of us were simply hypnotized, if also frightened silly: the glass gets extremely hot, and the flame ricochets alarmingly from edge to edge. As one of us put it, 'You'd hate to think your neighbor was getting one of these.'
+PAULA MAHOGANY FIREPLACE -- $349 at CSN Fireplaces, csnfireplaces.com or (800) 457-2106.
+It took an entire morning to put together the Paula, the only fireplace requiring assembly. (It isn't hard to do, but it takes time, and several pairs of hands help.) In any case, at over four feet square and a foot deep, Paula cuts quite a figure. It is furniture, hokey but stolid, if not exactly solid.
+Putting aside the cheese factor, there were those who liked the fact that you could lean upon the Paula, or that it provided 'another place to stack stuff.' Its fake log was its worst feature: it had an amoeba-shaped cutout that let you see not only the flame, but also the can the flame comes from, which spoiled the effect.
+Mr. Lane suggested using three cans, but we were too chicken and lighted just one. Still, the fire made an appealing sound and had a true yellow flame. Mr. Lane sent it with FireGlo fuel, which costs about $80 for a box of 24 13-ounce cans, or more than $3 per can (or $9 per 'fire').
+One person offered a summary: while he allowed as how the ventless numbers were the fireplace version of ambient music -- or kind of like watching the water in a sink instead of the sea -- he did experience 'that puppy-stomach rub' sensation you get from watching a flame. 'I got a little sleepy,' he said. 'I wanted to slump in a chair. I didn't want to do anything else.'
+HAPPY HOLIDAY HEARTH DVD ($8 at Virgin Megastores or at virginmega.com).
+We tried this out the next day, and it turned out to be everyone's favoritefire. The three-minute loop, which we played on a laptop, made the flame seem to burn in double-time, but the aural feature -- the crackle -- was realistic and soothing. (You can also play it with 23 holiday songs, or choose both crackle and songs.)
+The H.H.H. is not, it should be pointed out, a DVD of the WPIX Yule Log, the beloved televised fire broadcast from 1966 to 1989, when it was retired because the sound was so poor, and subsequently lost. Yule Log aficionados will be happy to hear that on Dec. 23, 24 and 25, all three hours of the Yule Log will be broadcast -- remixed, remastered and generally gussied up -- along with an hourlong special called 'A Log's Life,' a history of 'the Log,' as the folks at WPIX call it, with interviews with experts like Joe Malzone, the creator of the Yule Log fan blog, theyulelog.com.
+The documentary's title takes its name from a clerical error: turns out that in 2001 the original 35-millimeter film was finally found in WPIX's archives in New Jersey, where it had been misfiled in a 'Honeymooners' film can under the title 'A Dog's Life.'
+DESIGN NOTEBOOK"
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+LAST Monday night, both the men's and women's bathrooms at the Double Seven, an ink-and-gold nightclub on West 14th Street, carried new accessories: rolls of black toilet paper, though you could hardly see them through the gloom. (The Double Seven's bathrooms are tiled in black, have black toilets and sinks and are lighted by candles.)
+Laurie Black (her real name), a 34-year-old customer relations manager at an information technology consulting firm who was there having a drink with her boss, obligingly tugged out a length of the stuff and squinted. 'It certainly doesn't jump out at you,' she said finally. 'I imagine once you'd pulled it out your train of thought would be interrupted. You'd stop worrying about whether or not you'd paid for your last drink or whether you were going to go home with this guy. You'd think, wow, black toilet paper. Am I really going to use this?'
+Good question. If black is the new black, again, should its influence extend to toilet paper? Can toilet paper make it as an object of design, a touchstone of chic? More important, should it?
+'The question for us was not why, but why not,' said Paulo Miguel Pereira da Silva, the president of a Portuguese paper company called Renova, which has just begun testing its new product, Renova Black, otherwise known as black toilet paper, in this country. Mr. da Silva, who speaks Portuguese and French, communicated with this reporter by e-mail, his answers and my questions translated by an employee.
+Mr. da Silva wrote that he had been thinking about the idea of spectacle and how it relates to consumer products while at a trade show in Las Vegas. Black was an intuitive choice for toilet paper, he suggested, because it signals 'avant-garde creative work.'
+'In a design sense,' he wrote, black means 'irreverence, maybe touching a bit on the core nature of art, which is to break rules and set new ones.
+'Culturally, deep down, Renova Black invites people to break down whatever might be limiting as common sense ideas,' he wrote.
+Mr. da Silva ventured that his new product was 'neither solely a product, an object or a communication tool,' but some heady combination of all three. He also admitted, more prosaically, that when he stocks his bathroom with Renova Black at parties, guests tend to pinch the rolls.
+In any case, hoping to capitalize on the concentration of design folk in town for the International Contemporary Furniture Fair next week, Mr. da Silva's company has hired Kelley Blevins, a soft-spoken, Tennessee-born public relations executive at OnTrend International, to find Renova Black just the right context. (He's already placed it in urgent hot spots like the Double Seven, Frederick's Bar & Lounge, Frederick's Restaurant and the basement bar at La Esquina.)
+'I wanted as many tastemakers and influencers as possible to have a personal encounter,' said Mr. Blevins, who claims to be the man responsible for making the Chupa Chups lollipop a fashion accessory a few years ago, and so has had some experience in giving a stylish sheen to unlikely items.
+Black toilet paper is enjoying its pre-buzz stage, said Mr. Blevins, who as of Tuesday had promises from Conran's, Catherine Memmi (a furniture and design store in SoHo featuring much dark wenge wood and white leather), Troy, Vitra and a gaggle of meatpacking district boutiques like Stella McCartney, Carlos Miele, Rubin Chapelle and others that black toilet paper would be a staple at their furniture fair parties.
+'Basically, everyone with a bathroom said yes,' Mr. Blevins said.
+A few weeks ago, when André Balazs threw a party for his girlfriend, Uma Thurman, at Frederick's Bar & Lounge on West 58th Street, the buzz was so soft no one heard it. Reached in London last week, Mr. Balazs, after a muffled conversation with the birthday girl, said the toilet paper was 'there, and, uh, it was very black.'
+'O.K.,' he admitted, 'nobody noticed.'
+Mr. Balazs was more voluble, however, when asked if, as a hotelier, he had ever given a toilet paper brief to anyone on his design team. 'I certainly did,' he said. 'We worked on a special sticker for the toilet paper at the Standard Downtown,' he added, referring to one of his Los Angeles hotels.
+'The concept was that the whole place was part of a mythical evil conglomerate from the 1970's, something that John DeLorean might have run, and so the artist Ryan McGinness, who is fascinated by corporate logos, designed a language based on the human pictograms you see in airports.'
+Mr. McGinness, Mr. Balazs said, designed a toilet paper pictogram of a man in the middle of doing that for which toilet paper is made.
+He did not.
+'He did, too,' Mr. Balazs said. 'Go and look. There is really no end to the amount of attention that one should lavish on the bathroom.'
+Not even the versatile Philippe Starck, who has designed everything from a toilet cleaning brush to an earwax scooper, has ventured so far as toilet paper, however. Though in 1960, the fashion designer Pierre Cardin, in a licensing frenzy, did put his initials on the stuff, said Marian McEvoy, a contributing editor at Domino. 'Which is kind of funny, having the letters P.C. on toilet paper,' she said. 'I'm just wondering why someone hasn't done black before, though I could see it, too, in an electric, on-fire blue, or maybe stripes.'
+Black toilet paper is an obvious fit for the dream-world of club and hotel bathrooms, but a weirder fit at home, unless you happen to have one of those stainless steel toilets that were all the rage a few years ago.
+David Mandl, an architect, has a guest bathroom in his Manhattan apartment that's all steel and slate, and features the brushed stainless lavatory manufactured by a company called Neo-Metro. 'I wanted to give the bathroom an edge,' he said the other day. 'With black toilet paper I think it would look awesome.'
+(You can't buy Renova Black in stores here yet -- remember, this is its pre-buzz period. But you can buy it online from the company, at renovaonline.net, for about 2 euros, or about $2.50. There is a horrifying deep red version on the site too, but it's only for sale to Europeans.)
+Donald Albrecht, the curator of the Dorothy Draper show at the Museum of the City of New York, said he thought Mrs. Draper would have taken to the concept with gusto. 'We've got a recording of an Edward Murrow interview where he asks her what she'd most like to design, and she says, 'A butcher shop, which would be all white except for the noses of the pigs, which would be bright pink.' If anybody could be serious about color and toilet paper, it would have been her.'
+Or Halston, who was Miles Redd's first response to the notion of black toilet paper as a decorative gesture. Mr. Redd is an interior designer in the Dorothy Draper mode, whose own bathroom is a mirrored, 1930's original he found in Chicago and fit to his house here in NoHo; it's big enough and glittery enough to throw a dinner party in (which Mr. Redd has indeed done).
+Black toilet paper, he said, 'sounds so Halston, so balls of cocaine.'
+'My theory is that most everything can be chic at some point or for some period of time,' he said. (Mr. Redd has never 'done' toilet paper, though he has gone so far as to choose toothpaste for a client because the packaging appealed.) 'I can see it in a powder room,' he continued, 'because that's a place where you can have whimsy or shock value, and you don't get tired of it because you're only there for a short amount of time.'
+Henry Petroski, a design theorist and professor of engineering at Duke University, worried that 'shock' and 'bathroom' are an unhappy couple, at least when combined outside a nightclub setting. 'In the end, I expect that many people who use the toilet do not want to be shocked,' said Mr. Petroski, whose book 'Success Through Failure: The Paradox of Design' was published this year by Princeton University Press. 'They want to go to the bathroom in calm and solitude, without the intrusion of objects that distract them from the business at hand.'
+But Miguel Calvo, who is one curator for the Mobile Living Experiment, a design showcase dedicated to the props of nomadic living filling 18,000 square feet at the Skylight Studios in SoHo during the furniture fair next week, said he liked the 'wow factor' of the black toilet paper, and was happily laying in a stock of it for his event. 'All global nomads need toilet paper,' he said. 'Is this fabulous or banal? Who knows?'
+His co-curator, David Shearer, said, 'Maybe what's important is not the product but a sense of process: you've changed the color of something very ordinary, and so people are going to interact with it in a very different way.'
+Or perhaps, as David Rockwell, veteran of so-called entertainment architecture, said: 'We've reached the logical end for thinking about that product. Black doesn't say anything to me about the particular use of the product. It's not really form following function; it's counterintuitive, so that's sort of interesting.'
+Mr. Rockwell, whose design credits include W Hotels and Nobu, said he was not tempted by toilet paper. What he would really like to try his hand at is Band-Aids.
+DESIGN NOTEBOOK"
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+RECENTLY released to video, 'Equilibrium,' a movie starring Christian Bale, is a sci-fi tale about the future. People's feelings have been declared dangerous and are being suppressed by the authorities.
+As always, the future is loaded with great-looking design. And as always, most famously in Orwell's '1984,' the modern hero stumbles upon the lair of someone living in the past, amid the unlawful artifacts of emotion and memory. There Mr. Bale, working for the authorities and looking like a piece of high design himself, has a violent showdown with his feelings -- provoked by a lamp with a fringed shade.
+It was hard, while walking down the aisles of the International Contemporary Furniture Fair at the Jacob K. Javits Convention Center last weekend, not to be reminded of the sci-fi stance that contemporary design takes against the past. And it was hard to imagine what role it will play in the future. Most people's idea of modern furniture design is more than 50 years old -- the work of Ray and Charles Eames or the great 20th-century architects like Aalto, still on display and pulling them in, like a reunion tour, at the show.
+But design, no matter how good, will never, by itself, be able to invest an object with meaning. It will always be an artificial heart. And though new items on display at the 2003 fair, like Christopher Deam's handsome Glide chair for Lolah (www.lolah.com), which has the action of an old porch swing, cleverly go through the motions, will anyone ever feel nostalgic about them? If the house caught fire, would you grab Glide, or your childhood blanket?
+There's a lot fogging design's pristine mirror right now -- an iffy economy, unease about security. In the world of design, where looks can be everything, vanity seems uncomfortably self-conscious this year. Though there were more exhibitors than last year, including an increase in newcomers, the fair was perceived by participants as a modest statement, with an apprehensive emphasis on biz, not buzz.
+Jerry Epperson, an industry analyst with Mann, Armistead & Epperson in Richmond, Va., said that the businesses at the fair, generally smaller manufacturers, represented 10 percent of the furniture industry in the United States. The wider 'contemporary' market is defined by anything that is not historically derivative (including recliners and home theater seating) and is strong in sales -- roughly 50 percent of the upholstered furniture sold.
+But Mr. Epperson added that 'nostalgia is the hottest category in the business right now.' He characterized it as 'your grandmother's furniture.'
+On a sleek island of black at the convention center, Bernhardt Design (www .bernhardtdesign.com) showed a vampirish collection of steel and white-leather furniture designed by Fabien Baron, the graphic designer best known for his makeover in 1992 of Harper's Bazaar magazine.
+The minimal-as-a-knife-edge design and dressed-to-kill attitude in the Bernhardt group were reminiscent of another Christian Bale movie, 'American Psycho,' based on Bret Easton Ellis's novel of 1991. Patrick Bateman, the protagonist, also believed in life as a perfect surface.
+But many exhibitors were trying to make concessions to the comfort of the consumer -- if not physically, then emotionally or financially. That, and not form, function or finish, seemed to be what was newest and most hopeful. And meaning, a favorite conceit for designers, especially young ones, took a secondary role to the kind of friendly, easier allusions that make one feel lucky to have a home to furnish.
+Pulse Requisite, an Oakland, Calif., outfit (www.pulserequisite.com), presented Juice, a wooden breakfast table with a scalloped-edge top that makes it look as if it has a cloth on it. The 'cloth' edge has a daisy-flower cutout in it too. The table, $1,350, looks like the product of a happy childhood, not a design degree or a jigsaw.
+Denyse Schmidt (www.dsquilts.com), a well-known contemporary quilt maker who has exhibited hand-sewn quilts for eight years, showed Denyse Schmidt Works, machine-sewn quilts that cut the price to $800 -- roughly a quarter of the cost of her hand-sewn quilts. She is also in licensing negotiations with Terence Conran Shops and Design Within Reach, which is developing a line of bedding.
+Snowlab (www.snowlabdesign.com), a Canadian company that exhibited for the first time last year, returned with a much cheaper version of its well-received, flat-panel wall lighting and introduced blown-glass hanging lamps that were antithetical to its futuristic first collection. Snowlab did $27,000 worth of business at last year's fair, enough to bring them back. But the writing was on the wall as to what would sell -- and it wasn't phosphorous ideas alone.
+Even at the 'off-site' or 'alternative' events staged in galleries and showrooms throughout New York City during the fair, which are typically more radical in concept, there were indications that design's unbroachable barriers -- the 'you're either into it or out of it' thinking -- were being cracked by anxiety.
+At Core77's 'Canary in a Coalmine' presentation at Gallery 91, Todd Falkowsky, a Toronto-based designer (www.coroflot.com /tfalkowsky), showed his Toy chair, upholstered with stuffed animals. As comfort, it's proactive -- a chair that wants to give you a hug.
+And at the convention center, student work, represented in booths set up by schools like Pratt Institute with large design programs, and a preview of problems to be solved by the next class of professional designers, was an uncharacteristically pacific mixture of acknowledging the present and appeasing the past.
+Day Off by Kanjana Chaiwatanachai (at Pukan_07@hotmail.com) is a futonlike floor cushion with flexible extensions that relieve the stresses of a workweek by accommodating anything you might care to do on your day off -- read, eat, watch television. Past Lite by Geoffrey Young is a translucent resin table illuminated by neon (gyoungdesign@aol.com). An ornamental cast in the resin appears when the mantel-like table is lighted -- classical inspiration as a kind of night vision, like dreams.
+The fair's 2003 Editors Awards were telling too. Blu Dot, the seven-year-old Minnesota company (www.bludot.com) that staked its success on practicalities like utility, attractive pricing and dependable shipping dates, not daring design, took the prize in the furniture category. Its new shelving, which sells for $279 for a 36-inch-wide unit, is raw particle board -- design has literally dropped its veneer. Anne Kyyro Quinn (www.annekyyroquinn.com), based in London, was named best new designer. Ms. Quinn creates pillows and throws.
+'I'm much more cautious about my buying this year,' said Douglas Burton, an owner of Apartment Zero, a design store in Washington, who was walking the fair.
+As an independent retailer, Mr. Burton has recently felt the pressure of staying in business. Several exhibitors, including Blu Dot, reported losing accounts from design stores, once a measure of metropolitan sophistication and a staple of cities big and small, which are closing -- in part because of competition from design 'chains' like Design Within Reach, a catalog and Internet company now also opening showrooms.
+'I'm not writing as many orders,' Mr. Burton said. 'I'm getting all the materials, going back to the store and talking with my employees about what customers really want. There might be an amazing piece, but it might be a $6,000 chair. People aren't spending money on those pieces now. We need that great chair that's $500.' Mr. Burton concluded, 'They're coming to us for great design, but they're coming to us for pricing now, too.'
+Not inappropriately, the moment seems grounded in serviceable home furnishings. At the fair, there were pieces to admire with ambitions no greater than to be chests of drawers, like e15's mahogany model (www.e15.com), or stylish side chairs, like Hussl's ST6 (www.hussl.at), which is available in a variety of colored lacquers. Pure Design (www.puredesignonline.com) showed a bar stool ($305) that was as long as a love seat, for those who don't like to drink alone.
+Cocktails were on people's minds, as were children, some indication that many younger designers at the fair, like Mr. Deam, are now older and beginning to act, if not like their parents, well then, like parents. Mr. Deam, 41, had twins this year. There was contemporary children's furniture on view at Truck (www.the-truck.com). Jennifer Carpenter, one of the company's three partners and its manager, also had a child this year. David Netto (www .nettocollection.com), a fashionable interior designer in New York, showed baby furniture, including a crib.
+Down the aisle from Mr. Netto's nappy changing table, Bombay Sapphire was pouring martinis -- the first time that the fair has served cocktails. And at noon on Saturday, the impromptu lounge was crowded.
+Generation X, it appeared, had discovered the business lunch.
+DESIGN NOTEBOOK"
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+ON a hot, airless afternoon earlier this month, Geoff McFetridge, a graphic designer, showed up for a quick session at a skateboarding park a few miles north of the house he shares with his girlfriend in the Los Feliz neighborhood here. A slightly built 32-year-old with a mustache and a dusting of freckles, Mr. McFetridge climbed out of a Land Rover carrying a battered skateboard and wearing a dark blue 'Hang Loose Hawaii' T-shirt. Rounding out his 1980's throwback attire were a chunky black Casio watch and a pair of red Vans sneakers faded almost to pink.
+Just as he was about to tip his board into the concrete bowl, the park attendant yelled out, 'Elbow pads!' Mr. McFetridge, slipping on the pads, just shrugged: he wasn't about to try anything that would cause a fracture. 'It's not like when I was a kid, and I was desperately trying to learn some crazy new trick all the time,' he said.
+Once a week or so, he said, he visits the park with Mike Mills, a 37-year-old graphic designer and filmmaker. With a laugh, Mr. McFetridge said Mr. Mills's style is even more old-fashioned than his own. 'Mike skates vintage,' he said.
+Mr. Mills and Mr. McFetridge are featured prominently in the Cooper-Hewitt National Design Triennial, a sprawling survey of contemporary American design that opened on Tuesday in New York. On their home turf in Southern California, they operate within what might be called the design-hipster nexus, a group of directors and artists whose résumés qualify as insider, but whose creative work -- as varied as music videos and skateboard design -- tends to celebrate outsiders. Both have had solo gallery shows in Los Angeles and are members of the Directors Bureau, a production company founded by Mr. Mills and Roman Coppola, a filmmaker and a son of Francis Ford Coppola.
+The Directors Bureau is a sort of clearinghouse that helps line up work directing commercials and videos for its small group of principals. Its aim is to avoid the slickness of other Los Angeles production companies, but it has acquired a certain gloss in spite of itself.
+'It's the most pretentious thing in the world to try and be unpretentious,' Mr. Mills said, 'but that's what we're trying to do.'
+To the teenagers who rub elbow pads with them at the skate park, Mr. McFetridge and Mr. Mills may well seem ancient. But to commercial clients and the design world establishment, they represent youth -- or at least a direct pipeline to its fickle sensibilities. Mr. McFetridge created an animated graphics campaign in 2001 for the ESPN Winter X Games, a competition thick with snowboarding events, and is working on a watch and a shoe for Nike. He has designed title sequences for films like 'The Virgin Suicides,' directed by Roman Coppola's sister, Sofia Coppola, and 'Adaptation,' directed by Ms. Coppola's husband, Spike Jonze. With a partner, Mr. McFetridge is also starting a new skateboard company, to be called Atwater.
+'They're not in this old model of graphic design where the designer says: 'I have a client. I assess their needs. I get my check,' ' said Ellen Lupton, one of four curators of the Cooper-Hewitt exhibition. 'The way they work is much more like an artist.'
+At the same time, she said, 'these guys are very entrepreneurial -- they want to have some control over the means of production instead of doing just work for hire.'
+That ambitious and hybrid approach to design work is a major theme -- perhaps the major one -- of the show. 'Typically, graphic designers provide the spit and polish but not the shoe,' Ms. Lupton writes in the show's catalog. 'Not so for some of the most interesting designers working today. They are creating products, furniture, garments, textiles, typefaces, databases, magazines, novels, music, critical essays, films and videos. They have become producers, working to initiate ideas and make them happen.'
+Ms. Lupton called Mr. McFetridge the 'poster boy' for that trend. Along with devoting the catalog's front, back and flap covers to his graphic and textile designs, she and her fellow curators have hung several of them in large wallpaperlike sheets on the second floor of the show, emphasizing the domestic setting of the ornate Cooper-Hewitt building, a former Carnegie family mansion at Fifth Avenue and 91st Street.
+Mounting shows in a former house 'has always been a challenge,' Ms. Lupton said. 'This time we're kind of going with it, saying, 'Look, it's a house.' You can put wallpaper on the walls, only it's contemporary, crazy wallpaper. The tone of it is to make the graphics consume the environment.'
+Back in the front seat of the Land Rover, Mr. McFetridge wiped a few beads of sweat from his forehead. As he steered up one snaking road after another, the 'Hollywood' sign appeared briefly between hills. A few minutes later he pulled up to the curb in front of a ranch-style two-bedroom house tucked into a hillside.
+Inside, he kissed his girlfriend, Sarah De Vincentis, who is seven months pregnant, and talked with a couple of friends who had dropped by to give him a present for his 32nd birthday, which had been a week earlier. The house is modest but airy, with a long galleylike kitchen and a wedge-shaped fireplace, open on two sides, dividing the living room from a sitting room near the front door. A faded copy of 'Landscape for Western Living,' one of the Sunset series, sat on the kitchen counter.
+A view of lush hills and of nearby Griffith Park was framed perfectly through a large square window in the living room. A mix of flea market finds and well-known pieces of midcentury design filled the rooms, along with art photographs and stacks of vinyl records. In the sitting room a bright-orange bird chair by Harry Bertoia sat next to a love seat covered in a fabric pattern, 'Stoner Forest,' by Mr. McFetridge. The décor seemed to celebrate a Southern California style of living that is unfussy but stylish.
+Sinking into in a boxy blue thrift-store side chair in the living room, Mr. McFetridge said he had been surprised to learn that he had been included in the Cooper-Hewitt exhibition. 'I just don't think of myself as part of the real design world,' he said. 'I mean, I've spoken at the Walker in Minneapolis before, but that's about it.'
+A banging noise kept interrupting him. He explained that he and Ms. De Vincentis had hired the architect Barbara Bestor to renovate the bathrooms. 'We're having a baby, and babies need bathtubs,' he said. 'That's the word on the street, anyway.'
+Mr. McFetridge, who calls his design firm Champion Graphics, grew up outside Calgary, Alberta, and moved to Southern California in his early 20's to pursue a Master of Fine Arts degree in graphic design at the California Institute of the Arts. After a stint in freelance skateboard design, he took his first real job as art director of Grand Royal, a short-lived but influential magazine financed by the Beastie Boys. 'Sometimes it was wheel-spinning, staying up for 10 hours doing one page,' he said. 'But I was excited, because I thought that magazine was the coolest thing I'd ever seen.'
+The computer design tools that he began learning to use in that job and has since perfected have let him take on a wide range of work -- directing commercials for Japanese television, for example, and designing wallpaper and fabric for Ligne Roset, the French furniture company. 'Basically every project I do is an experiment,' he said.
+Mr. Mills, who grew up in Santa Barbara, Calif., moved to New York City to attend Cooper Union. (He and Ms. Lupton met there.) He said his parents -- his father is a retired museum director, and his mother was an architect -- were disappointed that he didn't become an Abstract Expressionist.
+Like Mr. McFetridge, Mr. Mills began his career as a graphic designer, working in his 20's for Tibor Kalman in New York, but is now concentrating on filmmaking. He directed 'Paperboys' and 'Deformer,' both documentaries, and is trying to raise money to film his own adaptation of Walter Kirn's 1999 novel, 'Thumbsucker,' with Keanu Reeves and Tilda Swinton.
+He has also designed skateboards and postcards for the Paris design boutique Colette, and has directed music videos and designed album covers for Air, the Beastie Boys, Sonic Youth and Ol' Dirty Bastard. One of his latest projects is a series of commercials for Volkswagen's Beetle convertible aimed squarely at people in their 20's and 30's.
+As the banging from his bathtub-in-progress died down, Mr. McFetridge considered the décor in his own house. 'When we bought it, there was this horrible old 1950's wallpaper all over the place, and we took it all down,' he said. 'But now, I have to say we're thinking, 'Should we put new wallpaper right back up?' '
+He said a few friends had installed his wallpaper designs in their bathrooms. But nobody has gone wallpaper crazy the way the Cooper-Hewitt curators did. Though his mustache marks Mr. McFetridge as somebody who is not afraid to embrace a revivalist trend in its earliest stages, he said he isn't sure about this particular one.
+'Wallpaper in the bathroom is one thing,' he said. 'But wallpaper in the living room -- that's the real plunge.'
+DESIGN NOTEBOOK"
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+DOLORES HAYDEN, a professor at Yale, was driving north on Interstate 95 into the chaotic blitzkrieg of Americana that has become her turf.
+'There's a toad!' she exclaimed, referring not to a warty amphibian but to a defunct Toys 'R' Us (Toad: Temporary, Obsolete, Abandoned or Derelict site). In her green Passat wagon, she zoomed past a profusion of 'litter on a stick' (billboards) before spotting some 'ground cover' (cheap, easily bulldozed buildings, often self-storage units, put up to generate income while a developer waits to build something more profitable).
+'When you see self-storage units, the most important thing to ask yourself is, what's next?' said Ms. Hayden, a Yale professor of architecture, urbanism and American studies, whose new book, 'A Field Guide to Sprawl,' will be published next month by W. W. Norton. 'Ground cover is a way to avoid an alligator' (real estate scheme gone belly up).
+Conceived as a dictionary encompassing 51 species, from alligator to zoomburb (a city in the suburbs growing faster than a boomburb) the guide may well establish Ms. Hayden as the Roger Tory Peterson of sprawl.
+'I was struggling for words to describe places like Tysons Corner,' she said of the Virginia suburb one recent morning while driving among local examples of development gone haywire. 'If you don't know what to call something, you don't know how to criticize it.'
+Ms. Hayden, 59, is perhaps best known for 'The Grand Domestic Revolution' (M.I.T. Press, 1981), a groundbreaking study of the 'material feminists' of the 19th century, who sought to liberate the home and workplace from isolation and drudgery. This time around, Ms. Hayden is playing the role of reformer herself, taking aim at invasive species like the snout house (dwellings with jutting, full-frontal garages). 'They fail the trick-or-treat test,' she said, paraphrasing Portland, Ore., planning officials who thought children should be able to find the front door. (Portland banned snouts in 1999.)
+The idea for a field guide grew out of Ms. Hayden's own frustration as a scholar and a citizen. She moved to Guilford, 12 miles east of New Haven, in 1991 after 11 years teaching at the University of California, Los Angeles. With its pristine New England village green and one of the largest collections of 18th-century houses in the country, Guilford, on the rural fringe about 100 miles from Manhattan, 'is a very typical battleground for preserving the sense of place,' she said.
+Several years ago, Ms. Hayden, who wears a silver and gold ring in the shape of a three-dimensional courtyard with a stair and a bridge, wound up serving on a citizens advisory committee examining encroaching development. 'The town's zoning code was so convoluted nobody could read it,' she recalled. 'After a while I got to see that a lot of it was designed to frustrate discussion rather than enable it.' At the same time, she noticed that her graduate students at Yale, who came from different disciplines, including American studies, architecture, planning and anthropology, had difficulty describing the everyday American landscape without resorting to impersonal jargon. 'I began to see that one of the most useful things to do might be to develop a common language,' she said.
+To probe the dark, semantic recesses of sprawl, Ms. Hayden combed planning glossaries, newspaper columns and Web sites for trade groups like the National Asphalt Pavement Association, and she went through slang dictionaries and real estate manuals. Along the way, she unearthed the origins of now ubiquitous terms like 'gridlock,' coined by two Manhattan engineers in 1980, as well as unwieldy euphemisms like 'nonattainment area,' plannerspeak for impermeable smog that fails to meet federal clean air guidelines.
+Her personal favorite is boomburb, a word that 'gives the feeling of a place that's growing double-digits when you say it,' she said. (As a published poet, she is particularly attuned to nuances of language.)
+In addition to naming names, Ms. Hayden critiques a landscape based on unrestrained growth, one, she writes, championed by federal policies since the 1920's, when Herbert Hoover, as commerce secretary, encouraged bankers, real estate agents, builders, automobile manufacturers and road builders to form a lobby to promote real estate development.
+Four years ago, she and her graduate students created a Web site that used aerial photography to document growth around Guilford, a technique she also employs in the book. Like language, she said, aerial photographs have the power to demystify abstract or hidden aspects of the landscape, including garbage dumps and gated communities.
+Ms. Hayden grew up in a six-story apartment building in New Rochelle, N.Y., Her father, J. Francis Hayden, was a lawyer; her mother, Katherine, a social worker who re-entered the work force in her 50's. Ms. Hayden originally trained as an architect at the Harvard Graduate School of Design in the 1970's, where she studied with the cultural geographer J. B. Jackson, 'the guy with the motorcycle who came to tell us we'd better look at America.'
+The politics of design are a continuous presence in her work, from the 19th-century activist Charlotte Perkins Gilman, who criticized private houses as 'bloated buildings, filled with a thousand superfluities,' to Latina garment workers in Los Angeles, whose lives and experiences were part of a public art and history project she spearheaded while teaching at U.C.L.A.
+Ms. Hayden's decade in Los Angeles, she said, influenced her more than her childhood in suburban New York: returning to the East Coast, she kept noticing apparitions of Los Angeles appearing on the horizon, like industrial parks bearing names like Concept Park ('no concept, no park,'). Her interest in the culture of cities and historic preservation led her full circle, back to the suburbs. 'It became clear to me as an urbanist that if I didn't understand what was going on in the suburban fringes, I couldn't keep writing about the city,' she said. 'Historically, city centers are where the action is -- where the men were, where the culture was. It was always considered less significant to be writing about 'the metropolitan area.' '
+In 'Building Suburbia,' a history five years in the making published by Pantheon last year, she writes about suburban growth as a series of seven historical layers, an evolution that began with the borderlands and picturesque suburban enclaves of the early- to mid-1800's before changing into mass-produced urban-scale 'sitcom suburbs' of the 1950's and eventually into big boxes and category killers in the 1990's and beyond.
+She advocates preserving the best aspects of each layer, even the numerous, once-derided sitcom suburbs around Guilford, which are dense enough to support neighborhood stores and local bus lines.
+'She is a socially engaged scholar who sees sprawl not as inevitable but a byproduct of ongoing political decisions,' said Christopher Wilson, professor of cultural landscape studies at the University of New Mexico.
+Ms. Hayden's field guide joins a wave of new scholarly devotion to sprawl, including '20th Century Sprawl: Highways and the Reshaping of the American Landscape' by Owen D. Gutfreund, director of urban studies at Columbia and Barnard and recently published by Oxford University Press. In his forthcoming book 'Sprawl: A Compact History,' to be published next year, Robert Bruegmann, a professor of architectural history at the University of Illinois at Chicago, will take a counterstance to Ms. Hayden's, emphasizing the positive aspects of sprawl as an urban form.
+'It gives a lot of people the mobility, choice and privacy that once only wealthy people enjoyed,' he said in a telephone interview. 'The same sense of highbrow outrage leveled at semidetached houses in Victorian London and suburban stockbroker Tudors of the 1920's are being leveled at McMansions today. Every generation sets an aesthetic standard based on what they knew when they were younger.'
+Ms. Hayden, who lives in a restored 1893 general store with her husband, Peter Marris, a sociology professor at Yale and a novelist, and their 16-year-old daughter, Laura Hayden Marris, continues to discover new sprawlisms practically weekly, among them, 'slurry stricken,' a British term for those who have encountered agricultural waste.
+Alone, perhaps, she curates the language of the lulu (Locally Unwanted Land Use), the banana (Build Absolutely Nothing Anywhere Near) and nope (Not on Planet Earth).
+If citizens wind up identifying rare 'life Lulus' the way birders might a mottled duck or a worm-eating warbler, Ms. Hayden will consider her mission accomplished. 'This is the U.S.A.,' she said. 'This is the stuff.'
+DESIGN NOTEBOOK"
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+FOR 15 years Miracle Manor, a divey 1940's motel 10 miles northeast of Palm Springs, seemed scripted more than operated by Lois Blackhill, a sometimes-topless facialist noted for channeling a spirit named Omra.
+Ms. Blackhill attracted an unusual cast of characters to this Southern California Lourdes, which sits atop a geyser reputed to gush the most balanced mineral water in America into its spa and pool. She was the crazy aunt in the desert whose eccentric family charm attracted off-the-marquee movie-industry people and others who wanted to park themselves in a balmy anonymous nowhere for a good read and a long soak.
+Once a fashion model in Paris and a cabaret singer in North Africa and later a globe-trotter with a particular interest in China, Ms. Blackhill was the impresario of a real-time sitcom. When she died of cancer in 1996, her ashes were sprinkled under the fronds in the motel's garden. She would be a hard act to follow. Could there ever be a sequel to Lois?
+Today, the rusty neon sign is lighted again. The modest stucco establishment, with zoomy roofs lifting off from the parking lot toward a long desert view, now belongs to a Los Angeles couple, April Greiman, a designer, and Michael Rotondi, an architect, both regulars at the motel since the 80's.
+'When it became available, we didn't think twice,' Mr. Rotondi said. 'We wanted a place in the desert with water as a second home.' As for running a motel, he said: 'It's real intimate, like having house guests, except everyone who stays out here helps pay the mortgage. We think of ourselves as managers who stay here for free.'
+The internationally known designers want to maintain this pokey corner of a town of 15,500 people that has seen better days: the down-home retreat, a two-hour drive from Los Angeles built in the late 40's with charm that only an architect would notice, is an unlikely object of their affection.
+Nonetheless, the two set about remodeling the pool-side complex, inventing a new character for the place, paying for the furnishings with their credit cards.
+'The construction cost about $100,000 total,' said Ms. Greiman, whose diversified practice includes the design of books, dinnerware, interactive television and Internet prototypes and most recently the graphic identity and image for the aviation exhibition '2003 Dayton Century of Flight.' (Her posters have been collected by the Museum of Modern Art, the Smithsonian Institution and the Cooper-Hewitt National Design Museum.)
+Mr. Rotondi, after a decade as the director of the avant-garde Southern California Institute of Architecture, is now focusing on his architectural practice. 'Our conceptual framework was to treat every practical issue as an esthetic one,' he said.
+The six-room retreat, whose charm was its modesty, resisted a glamorous makeover. The original 1940's design consisted of two small stucco-covered frame buildings wrapped around a courtyard. The property also contained an enclosed spa of naturally heated water. Mr. Rotondi, well known for complex residential and institutional designs that refer to the myths of the surrounding landscape, had to exercise restraint.
+'I first thought of ripping the roof off to create a secondary structure on top, but I got it out of my system,' he said. 'A real active physical design wouldn't be relaxing.'
+With a Naugahyde chair in every corner and wall-to-wall shag carpeting throughout, the Manor was a minor miracle of kitsch, but in the hands of Ms. Greiman and Mr. Rotondi, it was in for a life change.
+They wanted to put people in the desert without the interference of decor. Their decision to simplify and clean out the rooms and grounds meant returning the motel to its pre-Lois days, when it was a set of rudimentary buildings. The pair inherited an architect's large painted rendering of the complex, with happy-hour Champagne-bubble stepping stones around the pool and buildings with a purity equal to the desert's.
+'I've always liked the buildings for being so straightforward and generic,' Mr. Rotondi said. 'They epitomize the problem of the motel in the desert, this small building in a huge landscape. The idea was to be elemental, not intellectual.'
+They re-established the original shapes and, where the air-conditioners had been, opened exterior walls with 2-by-8-foot horizontal windows to capture desert panoramas.
+'Many motels we've visited weren't conducive to the experience of the desert,' Mr. Rotondi said. 'Often they have wall-to-wall carpeting, windows sized for ventilation instead of views, and heavy furniture and curtains better in the city. The way the rooms were cluttered with synthetic materials, you just wanted to crash and leave.' He added, 'What we talked about was how to keep people in a room rather than letting the furniture force them out.'
+Ms. Greiman said: 'A lot of people liked the kitsch -- it was like a time warp. But we wanted it to be visually quiet and serene. The desert outside is an awesome landscape, so we wanted the rooms to be monastic, with a kind of interior life that allowed quiet and peace of mind.'
+Ms. Greiman and Mr. Rotondi opted for understatement. Clothes hang on a simple rod sticking out from a wall or go into boxes that wheel under the platform beds. Simple birch plywood floor panels are inset within cool-to-the-feet concrete borders. Long desks of plywood (with snake lamps hanging from above) accommodate those who arrive with their laptops. The generous headboards contain reading lights. A room without a kitchen costs $80 a night; with a kitchen, $125.
+But not everyone is happy with the makeover. 'It's like your parents sold the house you grew up in, and it was renovated,' said Dane Holweger, a movie production designer, who remains faithful to Ms. Blackhill's interpretation. 'The place is starting over again, and that's fine -- it'll have to create its own history.'
+What would Mr. Holweger have done? 'I would have devoted each room to a decade -- 40's, 50's, 60's, 70's period room. I wouldn't be interested in doing a 90's room. There's no kitsch value in that.'
+The motel's exterior almost failed to get Jamie Adams, a painter, and Stephanie Silverman, an actress and writer, out of their car when they found the place by mistake. 'But it turned out to be exactly our take: no TV's, nice and quiet,' Ms. Silverman said. 'In the other places around here, you don't want to stay around -- very noisy, with karaoke rooms and deejays on weekends.'
+And what would Lois think?
+'The first time I was here, strange things happened,' said Brandi Chase, who started working as caretaker at the Miracle Manor motel several months ago. 'The hot spa would go up to 150 degrees and then down to 80. So, I decided to introduce myself to Lois. And after that everything mellowed out.'"
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+AT 23 it is two years older than Venus Williams and two years younger than Jennifer Capriati. The Wilson US Open Tournament Select has been the official ball of the United States Open since 1979, the year a mop-haired John McEnroe won the first of three consecutive singles titles.
+While tennis rackets have evolved from wood to metal to carbon fiber, Wilson's fuzzy yellow ball remains virtually unchanged. When it comes to tennis balls, constancy is the greatest virtue.
+It was one thing to design a ball to withstand the serve and volley of wooden rackets. Today, a bigger, stronger breed of players delivers serves that exceed 140 miles an hour. 'The ball is getting impacted much more severely than in the past,' said Paul Zalatoris, business director for tennis balls at Wilson, which is based in  Chicago. 'Our main focus is to withstand the beating.'
+Wilson's perennial challenge is to make the balls identical -- and durable, yet lively. 'This ball is lighter, easier on the arm and very consistent in its playability,  more than other hard-court balls I've used,' said Sandrine Testud, the 18th seed in the women's draw.
+For the tournament this year, Wilson shipped more than 71,000 US Open balls (12,000 pounds worth) to Flushing Meadows. With players using their own custom rackets and wearing sponsor-supplied shoes, if they lose they have only the umpires to blame -- or the balls.
+Therefore, every ball in play has to meet specifications of the International Tennis Federation and the United States Tennis Association for weight, size, hardness and rebound. (Wilson submitted eight dozen US Open balls a year ago for 2001 tournament approval.)
+Bill Bishop, principal engineer at Wilson's rackets technology laboratories in Elk Grove, Ill., tests balls for hardness in a hefty metal desktop ball smusher called the Stevens Machine.
+'It measures how much the ball is squeezed by an 18-pound load,' the industry standard, Mr. Bishop said. Some 15 to 20 percent of the balls for the Open were sampled in the Stevens Machine.
+Leeway among balls is so slim that the standard allowance for deformation, or change in shape, is from 0.220 to 0.290 inches. Balls for the U.S. Open meet even stricter standards of uniformity: within five-thousandths of an inch, or between 0.240 and 0.245 inches. 'A pro playing with a 0.220 and then a 0.290 could feel the difference in hardness,' Mr. Bishop said. 'Obviously we can't supply balls that vary one to another for million-dollar tournaments.'
+Ideally, for several months leading to a tournament, players would use the same brand. But some players came into the Open after having used different balls at other tournaments.
+And to a pro, the range of difference can be immense. The tennis ball's core is made of natural rubber; because the Open is played on a hard court, the ball's covering is a heavy felt weave of New Zealand wool with a bit of nylon. (For match play, the felt on the men's ball is the slightest bit thicker than on the women's ball.)
+'Any natural product inherently varies,' Mr. Bishop said. 'But here you have to make sure two natural products, rubber and wool, fall within certain governed parameters. When you're speaking of 100 million tennis balls a year, that's a lot of natural product that has to be made consistent.'
+The ball also has to be attractive. The single biggest production challenge is getting two flat strips of wool and nylon (cut in shapes known as dogbones) to meet smoothly around the ball, joined by a white adhesive. 'This part of the process will always be manual,' Mr. Bishop said. 'You have to have a personal ball-coverer -- that's what they do for a living -- tweak it and make it look pretty.' The ball-coverer's rule of thumb: the squarer the dogbones, the more the covering tends to wrinkle.
+Wrinkles and bad 'hair' are to be avoided in tennis balls as much as among aging players. The felt that covers the balls calls for Frédéric Fekkai-level care; it's a delicate balance of maximizing durability and minimizing fluff. 'You make one aspect of the cloth better,' Mr. Bishop said, 'you're probably going to make another aspect worse.' A covering might last forever, 'but more than likely it's going to fluff up badly.'
+The goal is to allow just enough fright wig on the ball so that the racket face can grab it, but not enough to create aerodynamic drag. When balls emerge from the heat and pressure of the manufacturing process, the felt is compressed, like the matted coat of a wet dog. It is then steam-fluffed in industrial driers. The objective is to pull the fibers up and make the balls fuzzy so they don't fluff up dramatically during play. 'We call those Don King or troll balls,' Mr. Bishop said.
+Players know that fluff affects performance, and they will cull through balls looking for the kind of fuzz that will suit their game. On the first serve, some players like to take the skinnier ball, where the fuzz is still down, said Tracy Austin, a two-time U.S. Open champion and USA Network analyst. 'Those feel like they're going to go quicker through the air, come off the court quicker.'
+Mr. Bishop added: 'For the second serve they usually pick a scuffed-up ball.' That allows them to  hit the stuffing out of the first one, he said, 'and put a little more English in the second serve to make sure it drops in.'
+After all the testing and primping and selecting, the professional life of a tennis ball is short and brutish. At the Open, one set of balls is used for the warm-up and the first seven games, then retired. After that, balls are retired after every nine games. The United States Tennis Association donates the used balls to school and youth programs.
+Wilson's contract to provide the official ball runs to 2003. It pays the tennis association an undisclosed fee for that privilege plus royalties for each product Wilson sells with the U.S. Open name on it.
+The tennis ball is one of the few products for which both the object and its packaging contain pressurized air. 'Putting a metal lid onto a plastic container under pressure is an engineering feat in itself,' Mr. Bishop said.
+To make sure the balls have a consistent 12 pounds of pressure per square inch, a veterinarian's 20-gauge needle is attached to a test gauge and plunged into 10 percent of the balls. The cans should be at 13 pounds of pressure to guarantee the balls have a long shelf life.
+Wilson's canning machines come from the food industry, adjusted to insert pressure rather than create a vacuum. But the rubber ball itself is not a great insulator of air, Mr. Bishop said, nor is the canister. 'The plastic can leaks; air permeates through the sidewall. And if you think of the necks of juice and soda bottles at the grocery store, the tennis ball canister opening is a very large one in the lid world.'
+The balls that come popping out of the can for the Open are optic yellow. The traditional white tennis ball gave way to color in the late 1970's to accommodate television audiences. Yellow remains the best way to insure visibility against different backgrounds.
+'You have a dark green surface, a lighter sky and sometimes a white ceiling indoors,' Mr. Bishop said. 'So you already have to go from light to dark extremes. For tournaments, you also have to contend with spectators, the rainbow-colored sea of shirts in the stands. Fortunately, not too many people are wearing optic yellow, now that we're out of the late 1980's.'
+Even at 143 miles an hour, the Wilson -- optic yellow, pressure tested, durable and consistent -- remains the official ball of the U.S. Open. 'Wilson's been with us as long as I can remember, and we're really happy with them,' said Jay Snyder, tournament adviser of the Open. 'We've really gotten used to those balls.'
+DESIGN NOTEBOOK"
+False,False,True,False,True,True,False,False,False,False,True,False,True,False,False,False,False,False,False,True,False,True,True,True,True,False,True,False,False,False,False,True,False,True,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,True,False,True,False,True,False,True,False,False,True,False,False,False,False,False,True,True,True,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,True,True,False,False,True,False,False,False,True,False,False,True,True,True,False,True,False,False,False,False,False,True,False,True,True,False,False,False,True,False,True,False,True,True,False,False,True,False,True,False,True,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,True,True,True,False,False,False,False,False,False,True,True,False,False,True,False,False,False,True,True,False,True,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,"Design Notebook; From Latin Memories, Tropical Modernism
+EVERY summer, Madeleine Sanchez, now a 38-year-old architect, would visit her grandmother's small turquoise and ocher house in Cayey, P.R. She was often awakened in the middle of the night by the moonlight, which streamed in through cracks in the wooden planks that made up the small hand-built casita where her grandmother lived and died.
+Ms. Sanchez's reminiscences about her grandmother, 'a fearless woman who refused to leave her house during hurricanes and who got up at 5 A.M. with the roosters,' never became a conscious element in her architecture. (She founded her own firm in 1992.) But those snippets of memory -- of her grandmother's transom, the shutters facing the mountains and the way the moonbeams shone through -- are subtly interwoven in a freestanding pavilion she designed for 'Dream Houses: Three Latino Constructions,' an exhibition highlighting the work of young Puerto Rican architects, which opened yesterday at the Hostos Center for Arts and Culture in the Bronx.
+Along with her colleagues in the show, Warren James, 38, and Miguel Rivera, 33, Ms. Sanchez, a New York-born 'Nuyorican,' represents a new generation of Latino architects who are using their histories, attitudes and dreams -- their shared psychic terrain -- to create their own fusion architecture in New York and Puerto Rico. Their sensibility is perhaps best symbolized by the 'guagua aerea,' the three-and-a-half-hour air shuttle between Kennedy Airport and San Juan.
+'Many Puerto Ricans in New York have a house on the island, or a piece of land, or are saving for a piece of land,' said Mr. Rivera, who grew up in Bayamon, P.R., and studied architecture in San Juan and at Columbia University. 'I created a house not just for me, but for all the supers of New York.'
+The exhibition, whose curator is Nina Rappaport, is the first devoted to Puerto Rican architects in New York since the Museum of Modern Art's survey 'Latin Architecture Since 1945' 25 years ago; the timing is apropros. This year is the centenary of Puerto Rico's becoming a possession of the United States, and for the young architects, all of whom have their own small design firms in Manhattan, the question of Puerto Rican identity has deep resonance. Although Puerto Ricans comprise about 12 percent of New York City's population, only six architectural firms in the entire state are owned by Puerto Ricans.
+The work of these three architects continues the piquant stylistic cross-fertilization that has long existed in Puerto Rico; in their case, the influences combine traditional Ivy League educations with island vernacular and the zoomy tropical modernism that blossomed in Puerto Rico and Latin America around the turn of the century.
+'Exile always heightens the search for identity,' observed Prof. Jorge Rigau, dean of the New School of Architecture at the Polytechnic University in San Juan. 'In trying to establish what they inherited, they are furthering the vital connections between New York City and Puerto Rico.'
+Ms. Sanchez's dream house at Hostos is topped by translucent fiberglass, evocative of the island's ubiquitous corrugated tin roofs, and has a 'fish floor' where bamboo is suspended over a cove of turquoise and orange glass pebbles that shimmer like the ocean. The roof pivots and can be opened or closed, depending on the weather.
+She was educated at Smith College and Yale University and has twice been an artist in residence at the MacDowell Colony in New Hampshire. 'What you grow up with is indelible, but I wasn't conscious of it,' she said. 'When you're with a client, all you're thinking about is getting the Sub-Zero refrigerator in.'
+Warren James -- the son of a Spanish mother and, he said, a 'total Massachusetts Wasp' father descended from William James -- calls his architectural style 'glocal,' a fusion of global and local. After studying at Cornell and Columbia Universities, Mr. James went to work for Robert A. M. Stern and the Spanish architect Ricardo Bofill before cognitive dissonance -- 'being a Puerto Rican designing a shingle-style house in the Hamptons' -- set in.
+He grew up in Arecibo, P.R., in a hotel on the plaza mayor -- the central square -- owned by his grandparents. As a boy, he spent every afternoon serenaded by canaries on a balcony, observing the festive welter of life on the square and gazing toward the mountains and sugar cane fields. With  amusement, he would study the huge Arecibo Observatory, a futuristic landmark featured in the movie 'Contact' that he calls 'a big ear listening to outer space.'
+Those hours on the balcony have made themselves felt in his architecture. In the 3,400-square-foot Alpha Loft he designed with Daniel Montroy for Alex Shpigel, a real estate investor, and Rachel Arfa, a lawyer, Mr. James treats raw space like a plaza mayor with little urban buildings surrounding it. The kitchen, the powder room and the breakfast room are freestanding geometric forms, with adjustable sandblasted windows. The enclosed breakfast room is inspired by fiesta kiosks on the town square.
+In a compound on Shelter Island, N.Y., Mr. James conjures up images of an island. The house -- under construction for Mr. Shpigel and Ms. Arfa -- is a series of floating planes up on plinths; the living room is a glass cube that glows like a lighthouse at night. 'Every house is an accretion of shapes,' Ms. Rappaport, the curator, noted of Mr. James's work, 'an evocation of a town within a single residence.'
+His dream house at Hostos -- two intersecting cubes, one solid, one transparent -- was inspired by the Puerto Rican vernacular of wooden jalousies and shutters contrasted with thick Spanish colonial walls. It also, not surprisingly, contains a balcony.
+The image of a town square teeming with life is perhaps an apt metaphor for the architecture of Puerto Rico itself, in which many traditions intertwine. 'It's both-and,' Mr. James said of the architects' collective approach, 'not either-or.'
+Modernism, a strong force throughout Latin America, developed its own distinctive regional identity in Puerto Rico, 'an island culture ready to roll,' as Mr. James put it. In part, the adoption of modernismo was climatic; the concrete beloved by modernists was the perfect material because it resisted hurricanes, humidity and termites. Tropical modernism embraced vernacular traditions, particularly the use of shutters, interior courtyards and open floor plans that brought the lush outdoors inside. Second-story balconies remain a dominant feature, especially in urban settings.
+The growth of suburban developments after World War II furthered those trends, incorporating concrete sunshades, iron fences and grillwork and open plans that responded to the tropical environment.
+Mr. Rivera, who divides his time between the Manhattan firm of Mitchell/Giurgola and his own firm, designed a variation on this theme for the Hostos Gallery. It is a fragment of an affordable house he hopes to build one day on property he owns in Puerto Rico, inspired by his experience as someone 'who chooses to live in North America but who dreams nostalgically of home and hopes to maintain a foothold there.'
+Made of concrete block, with a cantilevered roof, the house is designed to open and close, with pivoting concrete walls and sliding screens. Mr. Rivera addresses security with decorative gates that can slide on tracks. 'The question is, How can you live in the tropics enclosed?' he said.
+Mr. Rivera has clients in both New York and Puerto Rico. For Dr. Ian Canino, a psychiatry professor at Columbia University, and his wife, Teresa, a social worker, the architect used the couple's collection of antique Puerto Rican santos, or carved wooden saint figures, as a cue. He exposed the apartment's wooden beams and contrasted their roughness with white-painted brick walls lined with Latin American and Puerto Rican art. (The Caninos both grew up in Puerto Rico.) 'Our roots were the same,' Dr. Canino said. 'It was a professional endeavor, but also a personal one.'
+For Agustin Fernandez, a Cuban artist living in New York, Mr. Rivera is reconfiguring a five-story modern town house to accommodate his three grown children and their families. 'It is like a traditional Puerto Rican L-shaped martillo, a house of generations, except it's vertical,' Mr. Rivera said.
+Mr. Fernandez didn't actively seek a fellow Latino as his architect, but 'when it happened, I was very happy,' he said.
+'We had a very easy understanding of each other,' he said. 'We only needed to talk half-words.'
+Hostos, whose student body is mostly Latino, expects the show to travel to Puerto Rico and possibly Miami, and there will be spinoff programs for Bronx public schools. 'No Latin student can aspire to be an architect if they've never been exposed to one,' Mr. James said. Beyond their residential work, the architects are reaching out to the larger community: Ms. Sanchez is currently completing the Bushwick community center, Mr. James works for the Julia de Burgos Latino Cultural Center in East Harlem and Mr. Rivera reviews student projects at the City University of New York.
+Their work is flourishing here. But in the closet of Mr. Rivera's one-bedroom apartment on the Upper West Side, there is a hammock hidden away, to be stretched between two avocado trees on his land in Puerto Rico, one day.
+'Dream Houses: Three Latino Constructions' runs through June 19 at the Hostos Center for the Arts and Culture, 450 Grand Concourse (149th Street); (718) 518-6700."
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+WHILE the plot thickeners are all in the mix -- two ambitious brothers, a multimillion-dollar family business that began with the proverbial pushcart, an indomitable father -- the Maharam story is no made-for-television melodrama.
+But it is a tale about the warp and weave of the design-crazed 90's. And about how those brothers managed to make office upholstery something to rave about -- and even to bring into the home.
+Maharam is a century-old textile company transformed over the last four years from a dowdy, mass-market operation known for commercial fabrics sturdy enough to withstand a blowtorch into a company throwing off sparks. Last month the Cooper-Hewitt National Design Museum announced that Maharam is a finalist in its annual National Design Awards, which will  be presented on Wednesday.
+Having long outgrown its 1950's motto 'House of Service,' Maharam is now associated with some of the most progressive designs in the textile industry. It has commissioned patterns from hot Dutch artists, and has upholstery being spun at the same mills that make Prada's knapsacks. Maharam has also chalked up insider points by reintroducing patterns by design legends like Charles and Ray Eames, Alexander Girard, Verner Panton and Gio Ponti.
+'They made a complete turnaround to become a real front-runner,' said Jack Lenor Larsen, the modern textile designer and éminence grise of the industry, speaking of the Maharam brothers, Michael and Stephen, the fourth generation to run the company.
+In an intensely competitive half-billion-dollar industry that sells contract textiles -- fabrics prized less for their looks than for their durability and flame resistance -- Maharam has played the panache card, and in the process, doubled profits to $100 million over the last four years, said Stephen Maharam, at 39 the younger of the brothers.
+'These are times when the difference between most designs is not the good versus the bad, but good versus great,' said Michael Maharam, 42, the more outspoken of the brothers, who are both handsome in a wide-eyed Buzz Lightyear kind of way. 'But there's too much splashy, flashy fluff out there,' he added. 'We're trying to do textiles that are clean, beautiful, perfect.'
+This swatch-world makeover began in the late 1960's with two brothers playing in the storage basement of an old Times Square warehouse. Their toys were Styrofoam balls, retractable extension rods and Mylar sheets, castoffs from their grandfather's garment-district business; he made stage curtains for theaters and panels for department store seasonal displays.
+During their childhood, their father, Donald Maharam, had steered the company away from gold lamé curtains to tap into a huge new market for hospital curtains, cubicle panel fabrics and grill cloths for RCA's first 10-inch color television cabinets. 'It was not a company about creativity,' Michael Maharam said. 'It was about selling as many zillions of yards as possible.'
+The unglamorous held no appeal for Michael Maharam, who spent his 20's in self-discovery, working as, among other things, a maintenance man servicing celebrity aquariums in Beverly Hills. 'Candy Spelling always wanted new fish brought in to match the color themes of her parties,' he recalled of the wife of the television producer Aaron Spelling. In San Francisco, he met Uschi Weismüller, a graphic designer from Switzerland, whom he married in 1997.
+He returned briefly to Maharam in 1990, but left for travel abroad in protest of the hidebound managers who had assumed control of the company as his father phased himself into retirement.
+All the while, Stephen Maharam worked steadfastly for the company, absorbing his father's strict sales technique. 'First, nothing is ever 'nice,' ' he said. 'My father always insisted that you search for better words, like 'gossamer' or 'luxurious.' ' But after 12 years of rising at 5:30 a.m. and wining and dining clients five nights a week, a frustrated Stephen Maharam gave notice  in 1997.
+In response, Donald Maharam made a proposition to his sons: he would buy out the company shares controlled by the two remaining partners and back the two boys if they would take command.
+With no experience running anything like a company, much less one with 350 employees and 30 showrooms, the brothers did hesitate -- but not for long. 'We were on a ski lift in Switzerland' Stephen Maharam recalled, 'and we decided to give it a shot.'
+Michael would take over image and marketing; Stephen would run the show. The timing couldn't have been better. By the mid-1990's, new design was the currency of the hip culture, and the brothers began repositioning the company with a vengeance. Michael was forceful in demanding that the new Maharam have a fashion-inspired edge. No more sedated maroons and navy blue to muddy up the conference room. Maharam would sell the same palette that was cat-walking down the Milan runways.
+The first line under Michael Maharam's direction featured a full run of Gucci-compatible materials with a cling fit called Ready to Wear, about $45 a yard. Another new line, Action Fabrics, $35 a yard, is made of a duotone synthetic mesh textile in Nike-cool colors like lime on aqua, and orange on red. According to Mary Murphy, Maharam's director of design, they were the upholstery of choice for dot-com offices, where the workstation was, for a while at least, the vocational equivalent of an extreme sport.
+With their on-the-pulse designs -- and lofty press release references to the Cranbrook Academy of Art in Michigan and Hans Hoffman, the Abstract Expressionist -- Maharam made design savants tingle down to the tips of their credit cards. 'I was never interested in contract textiles before I talked to Michael,' said Murray Moss, who showcases Maharam's boldest bolts at his store, Moss, in SoHo. 'They showed that contract doesn't have to be brown, washable and indestructible. What made it more interesting for me was that they also understand the link between fabric, pattern, graphics and furniture.'
+Michael Maharam, with his Yohji Yamamoto black shirt and vaudeville smile, is the public persona of Maharam. And he likes to lunch. Even before the breadbasket arrives, he has run down his history of early rebellion, wanderlust and odd collecting habits (brass mouthpieces and Italian fishing lures). A favorite topic is his professional courtship of the daughters and widows of famous designers. Lucia Eames, the daughter of Charles and Ray, invited him into her parents' house to inspect their favorite colors in situ. On a visit to Milan, he met Lisa Ponti, daughter of Gio, who ripped off a strip of an original 70-year-old pattern ('Lovers at the Window, $120 a yard to the trade) and handed it to him for reproduction.
+While much of the credit for the Maharam revival belongs to the fabrics themselves, a tightly orchestrated image plays a part as well. In 1998, Michael Maharam's wife, Ms. Weismüller, took over the graphics, designing everything from fax cover sheets to showroom signs. The look has the clear simplicity of classic Modern, with a Scandinavian brightness. The offices near Gramercy Park were redesigned by Fernlund & Logan, architects of the offices of the avant-garde journal Visionaire. Sample books in satellite showrooms are presented in color-coded cubic wall units à la Donald Judd. 'Employees were told to put away the Beanie Babies,' Michael Maharam said, 'and there would be no more handwritten labels.'
+Everything would be graphically clean, 'even pharmaceutical,' he added. Commissions went out to designer darlings, like Hella Jongerius, the Dutch designer, and Bruce Mau, the Canadian graphic artist. In addition to the archival reintroductions that endowed instant seriousness of purpose, Maharam is also developing a stringently monitored environmental line.
+In keeping with the dictate that 'nice' won't suffice, the Maharam sales force now attends monthly lectures by design cognoscenti like Aaron Betsky, a former curator at the San Francisco Museum of Modern Art. 'I want the truck drivers in the warehouse to be able to talk about Gio Ponti,' Michael Maharam said.
+Competitors admire the way Maharam has inflated its image. 'It's rare to find a company that has managed to inject the emotional and the inspirational into their project while still keeping an eye on efficiency and fulfillment,' said Greg Parsons, the president of Herman Miller Red, a company that has collaborated with Maharam.
+While figures are not available, the contract industry is beginning to slow down along with the rest of the economy. Maharam, Stephen Maharam says, is flush enough to undertake a complete overhaul of its Hauppauge, N.Y., warehouse.
+After 45 years in the business, Donald Maharam spends half his time in Florida with his wife, Bonnie. 'Not to insult those who are not in the upper echelons,' Donald Maharam said, 'but the boys moved us up many notches.'
+The absence of an heir apparent -- Stephen is single; Michael and Uschi say they have no plans for children -- for the company that will turn 100 next year doesn't disturb Donald Maharam. 'It's just a vehicle,' he said. 'If they want to do something else, they'll do it. I'm not into any of that family dynasty nonsense.'
+DESIGN NOTEBOOK"
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+MOVE over, tall towers with your lean and mean silhouettes  a new shape's coming to town.
+By the look of the ninth Venice Architecture Biennale, which opened on Sunday, the race to scrape the sky with ever-higher buildings is all but irrelevant to the new generation of architects coming into their own.
+In place of thrusting tectonic giants, the show features sloping, sprawling, cloudlike and bent forms that hug, swell and merge with the landscape. Complex engineering feats and the three-dimensional imprint of the computer grid are beginning to be felt, as projects long confined to the groves of academic speculation start to go up in the real world.
+The exhibition is a heady end-of-summer rite for members of the global design world with ample travel budgets. It promises to deliver, and perhaps decipher, the most compelling architecture under way, today and into tomorrow. In the vast, towering halls of the 16th-century Corderie dell'Arsenale, where the Venetians once launched their mighty fleets, over 200 design projects from 170 design studios are on display. Racing through the roughly 1,000-foot-long space, glancing neither at the placards describing the projects nor at the row upon row of seductively made building models, took a foot-swelling 15 minutes on Sunday.
+Not to be overlooked are the 33 national pavilions at the Public Gardens, a short walk away through charming narrow alleys strung overhead with drying laundry, where the up-and-coming talent is often featured. Really to absorb it all would take days of concentration, and a lot of sneakers. The exhibition runs through Nov. 7.
+Many friends of architecture showed up simply for a weekend of schmoozing in style and swapping appraisals about how new the 'new' really looked while downing cocktails and olives at Harry's Bar or on the waterfront terraces of the outrageously luxurious Hotel Cipriani and Gritti Palace.
+'The biennale is a good predictor of the near future,' said Terence Riley, the chief curator of architecture and design at the Museum of Modern Art in New York. 'It's like reportage that can sometimes be a bit more profound. But if I'm going to travel halfway around the world to see what's happening, I prefer the net to be cast as wide as possible.'
+This year, earnest talk of 'fluid form' and 'structural solutions' was ramped up by star sightings -- Nicole Kidman! Scarlet Johansson! -- since the opening overlapped with the Venice International Film Festival.
+The exhibition theme, 'Metamorph,' was chosen by Kurt W. Forster, the director of the event and a curatorial power in the design field who founded the Getty Research Institute in Los Angeles and was the director of the Canadian Centre for Architecture in Montreal. His goal was to chart what he called 'profound shifts,' and a sea change was readily apparent.
+For the Musée des Confluences in Lyon, France, Coop Himmelb(l)au, the Viennese architectural firm, designed a stridently horizontal structure propped on slightly splayed columns. In the model at the biennale, the largely windowless steel skin, part billowing, part faceted, looks as if it has been buffeted by unknown forces. The accompanying text offers the project up as 'a spatial arrangement trying to spur public curiosity' that will turn the museum, which focuses on biology, ethics and technology, into an irresistible community hangout.
+Almost every project in the show bears the look of buildings made newly possible by a sophisticated grasp of computer technology. 'We're all part of the post-digital age who were trained in predigital methods,' said Lise Anne Couture of the New York firm of Asymptote, who, with her husband, Hani Rashid, designed the exhibition displays. 'We're on both sides of the coin, but we have learned how to use these new technologies firsthand, and we understand how to manipulate and use them at every stage in the process, from conception to construction.'
+Asymptote's design neatly captures both old and new: a series of curved platforms march down the Arsenale hall, each holding 3 to 11 models. The platforms curve upward like skateboard ramps, their ends contorting gradually as they rise overhead. Their twisting length suggests both a Möbius strip and the old hemp ropes made in the Arsenale 500 years ago. This being Venice, they might also be interpreted as oversize ghost gondolas.
+'We swim in a fluid cultural medium where everything speaks to us all the time,' said Mr. Forster, seated on a purple satin pillow in a far corner of an ancient naval building transformed into an auditorium. 'Shapes are melting, walls become roof, the site infiltrates the structure, distinctions between geology and form disappear.' As examples he cited 'One Day 1:1,' a full-scale model of a section of a room at the Mercedes-Benz Museum in Stuttgart, Germany, by the UN Studio of Rotterdam, and the Paul Klee Museum by Renzo Piano in Bern, Switzerland.
+Like a wave beached on sand but still rolling, the Klee museum by Mr. Piano, a Genoa-based architect, has not a single flat surface; it's a ripple at a standstill, which visitors enter through the upward swing of a curve. 'Structure no longer needs an armature to hang onto,' Mr. Forster said. 'Things can stand by themselves, like a frozen nightgown in the night.' The project, like several others represented in the show, is midway through construction.
+The intense shapeliness of the architectural models and drawings on display may originate in computer technology and sometimes -- as in the timber balloon framing of a house by the Irish team of O'Donnell & Toumey -- even seems to replicate a computer grid. But the intellectual underpinnings rise from Peter Eisenman, whose supersize City of Culture of Galicia, in Santiago de Compostela, Spain, is well under way.
+Mr. Eisenman, who received the Golden Lion award at the biennale for lifetime achievement, celebrated among friends and former students at the Hotel Monaco bar. Asked later if a generational shift was on show, he sounded jaded, the signature of someone who has long labored in the trenches of the avant-garde. The computer has finally made possible forms that are radically different, he said, at the same cost as the standard box of old. 'This is the first biennale where clearly the kids are all into some form of what one would call newness, not stale oldness,' he said. 'What I saw was stale newness.'
+For the American pavilion, Architectural Record magazine commissioned six new voices in architecture to rethink such ubiquitous but often banal structures as the cloverleaf, the stadium and the mall. Kol/Mac Studio of New York envisioned an apartment high-rise with pods so customizable that residents who like golf could have putting greens on their roofs; those who want to move could detach their units and take them to, say, the beach.
+The tower, called Resi-Rise Skyscraper, has the skeletal look of stacked dinosaur vertebrae. To make it, the architects used two new technologies, vacuum forming and computer-driven milling, which make unprecedented shapes possible and are beginning to be used in large-scale construction. 'Craft as we've known it is being left behind,' said Sulan Kolatan, a Kol/Mac partner, 'and a new idea of making is taking over.'
+At the biennale, newness that is more smoothly sculptural than radically alien is found most often in designs for cultural institutions like a concert hall for Rio de Janeiro by the French architect Christian de Portzamparc and the Tel Aviv Museum of Art, by Preston Scott Cohen. Outside, the Tel Aviv Museum looks fairly predictable, with more than a few square edges. But inside, the building, which is partly underground, turns molten, with sleekly curving walls unfurling into a well of light.
+Mr. Cohen, though just 43, has already participated in four architecture biennales. As if to guarantee freshness, Mr. Forster did not invite him to submit work until late May. In the rush to prepare, Mr. Cohen watched in horror as a plywood model that he was about to ship to Venice -- even though he had missed the deadline for free shipping -- caught fire.
+But once he got to Venice, he said, it was fair sailing. 'People are going to look back at this moment and see that this really was the beginning of something new,' he said.
+DESIGN NOTEBOOK"
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+THE kiss of metal.
+It may not sound like one of those obsolescent 19th-century comforts, like cutting gardens and transferware china, that Martha Stewart is forever resurrecting. But in the case of old-fashioned letterpress stationery, it's the 'kiss' of inked cast-metal type pressing down on soft, thick paper that produces a palpable impression -- literally and figuratively. And lately, it has been the kiss of luck.
+As e-mail and other high-tech modes of communication lose their novelty, letterpress printing is enjoying a comeback as a sort of Luddite luxury. Letterpress was the country's predominant form of printing until the 1940's. Until recently it was headed for extinction, replaced by offset lithography. But whether for personal stationery or for holiday cards, letterpress craftsmanship is catching on with a new generation eager for an antidote to the slick, ephemeral quality of modern correspondence.
+'Letterpressed things are tactile,' said Eve Ashcraft, 39, a Manhattan color consultant who uses letterpress Christmas cards and business stationery. 'It makes paper an object -- it changes it from planar to sculptural. And it holds color beautifully, almost as if the pressed areas are like reservoirs of ink. I also find that people are reluctant to throw it away, which helps from a business perspective.'
+At one old-fashioned stationery shop, the Printery in Oyster Bay, N.Y., sales of letterpress stationery have doubled over the past three years, according to William S. Miller, an owner. And at the three locations of Kate's Paperie in Manhattan, sales of letterpress products are 60 percent higher now than two years ago, said Melanie Nerenberg, the marketing director. 'And I'd say that in the last five years, the number of people supplying letterpress has risen 500 or 600 percent,' she said. 'You can't believe how many young, fresh letterpress companies there are now.'
+By comparison, James van Pernis, an owner of Saturn Press, a letterpress business in Swans Island, Me., that specializes in Art Nouveau imagery, said he remembered when he was the only letterpress operator at the annual National Stationery Show. A spokeswoman said there were five times as many letterpress vendors at the show this year as five years ago.
+The letterpress renaissance is a clear reaction against the glut of cheap desktop-published cards and stationery, and offers an alternative to the most widely used formal process, engraving. As Martha Stewart puts it: 'It has personality and individualism. Letterpress invitations are more personal than engraving. They have a little bit of warmth that engraving doesn't have. Each one is slightly different, whereas with engraving, the whole point is that they're exactly alike.'
+Across the country, crafts workers are acquiring discarded antique letterpresses, which now cost roughly $600 for an amateur version and $3,000 for one capable of commercial output.
+For all its outmoded technology, letterpress stationery is still as costly as engraved stationery. At Kate's Paperie, 100 letterpress cards and envelopes are $500; the engraved equivalent is $450.
+Nowhere is the charm of the letterpress more evident than at Bowne & Company Stationers, 211 Water Street in the South Street Seaport. Conceived as a replica of a 19th-century print shop, Bowne has had an increase of 30 percent in letterpress orders in three years, despite a sharp drop after the Sept. 11 attacks. The shop is known for holiday cards with images of 19th-century New York, accompanied by passages from Whitman and Melville.
+While engraved stationery still dominates formal correspondence, letterpress stationery personalized with name or initials has a slightly offbeat appeal. 'Engraving is very elegant, and it's always been more expensive, so it has a certain cachet,' said Barbara Henry, the director of Bowne & Company. 'But it's also very conservative.' By contrast, she said, letterpress printing was originally used for 19th-century posters, banners and pamphlets, and it therefore developed typefaces with a playful, unceremonious quality. 'We definitely have the bad-boy typefaces here,' Ms. Henry said.
+Of course, letterpress will never regain its place as the primary printing process, but, as with professional presses, the number of amateur letterpress printers is on the increase, and so are the number of universities adding letterpress centers for printmaking and graphic design classes. The Center for Book Arts, a nonprofit New York organization that promotes traditional bookmaking crafts, offered 46 classes in letterpress in 2000; this year, it had 96.
+Elizabeth Nevin, a hobbyist printer in Croton-on-Hudson, N.Y., with a letterpress resource Web site (www.briarpress.org), said there seems to be no end to the interest. 'I just sold two antique iron hand presses on eBay,' she said, 'one for $9,300 and one for $9,200, sight unseen. That never would have happened a couple of years ago.'
+So e-mail may be losing currency, but on eBay, ephemera are forever.
+DESIGN NOTEBOOK"
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+WHEN two Gustav Stickley cabinets go up for sale at Christie's on Nov. 29, as part of Barbra Streisand's Arts and Crafts collection, representatives of the Craftsman Farms, the Stickley home that the cabinets were designed for, will be there bidding.
+In August, the farms, a nonprofit house museum, began raising $75,000 as a war chest to recapture the cabinets. It also made public its frustration with Ms. Streisand for refusing to donate the pieces or sell them privately to the Stickley house. But the tactic may be backfiring: with the winds of war -- and publicity -- rising, the estimates have escalated from $26,000 to $34,000 to $40,000 to $60,000 each. Whatever the outcome, one thing is clear: house museums are busting the dust on the way they do business.
+They now number 4,000 to 5,000, from the White House, with 1.25 million visitors annually, to the typical out-of-the-way institution like Craftsman Farms in Parsippany, N.J., which had 10,000 visitors last year. After years of polite attrition, they are capitalizing on the potential of their cultural assets. With tourism breaking attendance records at the nation's large institutions, house museums are pushing hard at endowment goals to restore buildings, add visitors' centers and expand programming, and they are exercising a new aggressiveness in their strategies for acquiring objects.
+'The historic house field is the next phase of American museums to professionalize,' said Kenneth Snodgrass, curator at the Samuel F. B. Morse Historic Site in Poughkeepsie, N.Y., which began construction on a 22,000-square-foot visitors' center last year. Mr. Snodgrass, a graduate of the New York University museum studies program, is an example of the new breed of historic site curator: he does much of his shopping for the Morse house online, at Ebay.
+In Hartford, at the Mark Twain House, Ken Burns, the filmmaker, is shooting the orientation film for a visitors' center scheduled to open in 2001. Because Twain was a humorist, Garry Trudeau, Roy Blount Jr. and Calvin Trillin have appeared for evening events.
+Most important, said John Boyer, executive director of the Mark Twain House, 'the entire framework with which collections are built has changed because of the aggressive marketing strategies of Christie's and Sotheby's and the Internet.'
+House museums need the goods, and they are going after them.
+'That's what the historical site business is all about,' said Edward Bosley, director of the Gamble house, designed by Charles and Henry Greene, in Pasadena, Calif. 'It's very rare to step into a house and be confronted with what was there in 1908, for instance.'
+Reproductions don't work, Mr. Bosley continued, adding: 'In many cases, the reproductions are too good; they're better than the originals. They're overdone.'
+When house museums don't have the money, they use pull. Or try push.
+When an urn designed by Frank Lloyd Wright for the Susan Dana-Thomas house in Springfield, Ill., now a state-owned site, came up for sale at Christie's New York earlier this year, James R. Thompson, the former governor of Illinois, made the successful bid on behalf of the house.
+'I went off to New York with $150,000,' Mr. Thompson, now chairman of Winston & Strawn, a Chicago law firm, said, having gone down his list of chief executives and friends, including the Pritzker family. It cost him $260,000; Mr. Thompson's list made up the difference.
+He also went to The Chicago Sun-Times before he left town, which ran several articles on the house's interest in returning the urn. Mr. Thompson is on the paper's board.
+'I figured I needed all the help I could get,' he said. Mr. Thompson added that he didn't think the maneuver was a conflict of interest, or that it gave him an unfair advantage over other bidders.
+'They didn't have to compete against publicity,' he said, 'only compete against my dollars.'
+Mr. Thompson also bid on items for the Dana-Thomas house at Christie's in 1987, as governor. Because of advance publicity that the house wanted them, Thomas S. Monaghan, then chairman of Domino's Pizza, who was Wright's most active private collector, gave Mr. Thompson $25,000 toward purchases, agreeing not to bid against him.
+Mr. Thompson said that collectors' attitudes had changed. In 1987, 'there was forbearance on the part of the collecting community,' he said, to allow the Dana-Thomas house to make the winning bids. 'They thought it was a noble purpose,' he said. In 1999, in the case of the urn, he said, 'Collectors now are willing to go up to bat against you.'
+Susan Stein, the curator at Monticello, said with philosophic sadness, 'Our entrepreneurial values so far outweigh the idea of public patrimony.' Ms. Stein added that the dilemma would only get worse: 'The decorative arts are becoming increasingly valuable, and being treated more like works of art, like paintings.'
+Like most older house museums, Monticello has rarely depended on the kindness of strangers. When she wanted two chairs from the Jacqueline Kennedy Onassis sale at Sotheby's in 1996, Ms. Stein made arrangements with Patricia Kluge, a neighbor and benefactor, who bought them with an agreement that they would go to Monticello in 10 years.
+The White House was not so lucky. It lost the bid on a writing table at which President Kennedy signed the nuclear proliferation treaty, though it had expressed interest in the item privately, prior to the sale.
+The Jacqueline Kennedy Onassis auction had its historical irony. As first lady, Mrs. Kennedy virtually invented the patriotic popularity of returning objects to the White House, including a French chair from the Monroe administration that a woman in Pennsylvania donated after recognizing its matching table on television during the first lady's 1962 White House tour.
+'Her televised tour was a major factor in publicizing the interest in bringing things back,' Betty Monkman, the White House curator, said.
+But Mrs. Kennedy's style of civic responsibility has become as rare in the world of house museums as the objects they hope to retrieve.
+'It's a crying shame,' said James Rees, resident director of Mount Vernon, 'when truly wealthy collectors place their objects at auction, often without even contacting the houses in question. Even if they don't intend to donate, it's nice to think that the home would be given a chance -- like a right of first refusal.' Mr. Rees added: 'Most times, I am aware that an item is coming up when we receive the printed catalogue. At that point, it's very hard to put together the funds to buy it.'
+Traditional incentives like tax advantages for charitable donations must now compete with the prospect of inestimable prices realized in the open market, especially in fashionable, fast-moving collecting fields like Arts and Crafts.
+Ms. Stein at Monticello said that newer financial devices like the bargain sale helped to attract donors, by bridging the gap. 'The seller sells an object to a museum, at something under its appraised value, and is able to claim the difference as a charitable donation,' she explained. 'There's an element of philanthropy as well as benefit.'
+Arrangements with larger, more prestigious institutions, like long-term loans or the promise of gifts, present themselves less frequently to small house museums. 'It can take generations to get it right,'  Morrison Heckscher, a curator of American decorative art at the Metropolitan Museum of Art, said of  fruitful relationships with collectors. 'It's not something that can be rushed.'
+But the specter of public sale can produce impatience, if not panic. Tommy McPherson, executive director of Craftsman Farms Foundation, is prepared to take a quicker offensive, and risk professional disapprobation, as the foundation is doing with the Streisand sale. 'It would be more unfortunate for the foundation not to attempt to return them and simply wait for another generation of collectors to return them,' he said.
+House museums have no reason to believe that the next generation of collectors will be charitable.  'Though there's a huge transition of wealth now, to the baby boomers,' Mr. Boyer said, 'there's a part of me that worries about the upper middle class giving away objects when you look at the rest of their lives: educating their kids, managing retirement, putting their parents in nursing homes.' As collectors, he continued, 'they may have bought objects because they loved them, but they might be forced to view them as investments.' Collectors strapped for cash 'won't be able to be art patrons,' he added.
+But taking collectors to task for selling objects on the open market discounts the role they play in conserving the furnishings at all; in many cases, they are alone in their interests -- and their investments -- until their collections create appreciation at auction level.
+Mitchell Wolfson has collected decorative arts for 30 years for his public collection, the Wolfsonian at Florida International University in Miami Beach. It was only after he bought neglected treasures like Harry Clarke's stained-glass window, commissioned, then rejected, by the Irish government as its contribution to the League of Nations in Geneva, that institutions like the Irish government sought their return.
+'When I made them respectable,' he said of his possessions, 'then they wanted them back.'
+DESIGN NOTEBOOK"
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+ON Monday evening, as the first full day of summer ended with a rosy sunset over Queens, a subdued crowd of architects and curators gathered at the P.S. 1 Contemporary Art Center in Long Island City for a preview of a bamboo canopy spanning the entry courtyard.
+The structure, a delicate grid of arched bamboo poles tied in place with stainless steel wire, cast a filigreed shadow on the gravel-covered ground.
+The installation, designed by Mimi Hoang and Eric Bunge of nArchitects, is appropriately titled 'Canopy.' Their design is the winning entry in the fifth annual MoMA/P.S. 1 Young Architects Program, a competition that turns the P.S. 1 courtyard into an outdoor party space and urban playground for 10 weeks every summer.
+If past seasons are any indication, Monday's well-behaved guests, who examined the structure as if it were a delicate museum artifact, will give way to raucous, scantily clad revelers when the courtyard opens to the public at noon on Sunday.
+'It's a nearly impossible design problem: a temporary pavilion where 4,000 to 6,000 people can dance safely, even though most of them are drunk,' said Alanna Heiss, executive director of P.S. 1.
+'Canopy' includes a gentle dune , a knee-deep pool made of bright green foam contoured for half-submerged seating, and a ring of nozzles that spray bystanders with a cool mist. A side courtyard, the 'Rain Forest,' is shaded by a grove of live bamboo and filled with the sounds of recorded chirps and whistles.
+The Museum of Modern Art and P.S. 1 started the competition in 2000 to help young architects showcase their work. Past winners include Tom Wiscombe, William E. Massie and SHoP/Sharples Holden Pasquarelli.
+For Ms. Hoang, 32, and Mr. Bunge, 37, the commission was a chance to build their largest project yet. Their previous work has consisted of apartment renovations and gallery installations.
+Working with a budget of $60,000, Mr. Bunge and Ms. Hoang set out to create their installation with a single natural material. They chose bamboo because it is lightweight but strong and will change color from green to golden yellow as it dries over the summer.
+'It's more about shadows than shade,' Mr. Bunge said. 'We wanted to create a canopy with a single, but different, material. We thought about the word itself: a forest canopy, a cloud canopy.'
+But making the bamboo cooperate with their design proved unexpectedly difficult.
+'There are no books on how to build with fresh green bamboo at this scale,' Mr. Bunge said.
+The architects' initial design had much tighter curves than the gentle arcs they eventually built.
+'They were expecting the bamboo to bend more than is actually possible,' said David B. Flanagan, owner of Bamboo Fencer Inc., a supply company based in Jamaica Plain, Mass., who advised the designers. 'The idea that it's a flexible material is a bit misleading, even though they make fishing poles out of it.'
+Ms. Hoang, Mr. Bunge and a team of 15 architecture students, recent graduates and employees built the structure by trial and error. (A dozen friends volunteered on weekends.) The original 1,100 poles were stripped of leaves and branches and cut in a single week so they would arrive fresh and still easily bendable. The architects had to order an additional 300 poles to replace the ones that cracked without warning, and to expand the canopy and make some sections denser.
+Ms. Hoang and Mr. Bunge stored the poles under weatherproof tarps and hosed them down twice a day to keep them pliable. They sprayed the canopy at least once a day until every one of the roughly 1,300 poles was tapped into its final, carefully calculated position.
+Maneuvering the poles into the right spot often involved a gentle whack with what Ms. Hoang calls 'the world's largest Q-Tip,' a bamboo pole with one end wrapped in a wad of cotton cloth.
+The combination of high and low technology -- a complex structure engineered on the computer but built with jury-rigged tools from a simple natural material -- is part of what impressed the competition jurors.
+'Every year I keep thinking we won't find a winning scheme,' said Terence Riley, chief architecture and design curator at the Museum of Modern Art and one of five jurors. 'Maybe we're being pessimists, but how many different ways can you do this courtyard?'
+Ms. Hoang and Mr. Bunge said they had a leg up on the competition because they had been part of the crowd almost every year since the installations started. 'We were familiar with the program and had a lot of time to think about how to use the space,' Mr. Bunge said.
+This summer, they are defining the scene, not just basking in it.
+When to See The 'Canopy'
+'Canopy' will be open to the public through Sept. 5 from noon to 6 p.m. on Thursday, Friday, Sunday and Monday and from noon to 9 p.m. on Saturday. The suggested donation is $5.
+The P.S. 1 courtyard will also be the setting for 'Warm Up,' a series of musical events on Saturday, 3 p.m. to 9 p.m., starting on July 3 and continuing through Sept. 4. Admission is $8.
+For complete information, call (718) 784-2084 or go to www.ps1.org.
+DESIGN NOTEBOOK"
+False,False,False,False,True,True,False,False,False,False,True,False,True,True,False,False,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,True,False,True,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,True,True,True,False,False,False,False,False,True,False,True,False,True,True,False,True,False,False,True,False,False,True,True,True,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,True,True,False,False,True,False,False,False,True,False,False,True,True,True,False,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,True,True,False,False,True,False,False,False,False,True,True,False,False,True,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"Design Notebook; Fountain Fantasies, From Cascades to Curbs
+MOTHS are attracted to flames; humans to fountains. Whether they are towering plumes ingeniously engineered to rise Excalibur-like from a becalmed lake or monumental gushes churning through some mythological deity, fountains are irresistible messengers.
+Hope, renewal, power, melancholy, joy -- almost any ambition or emotion, it seems, can be served by the clever manipulation of hydraulics. At least, that's the impression made by the exhibition 'Fountains: Splash and Spectacle' that opened on Tuesday at the Cooper-Hewitt National Design Museum in Manhattan.
+The early role of fountains -- fueling and refreshing humans and livestock -- quickly  took on metaphorical, even propagandistic functions. What better way to awe courtiers than with the Apollo fountain at Versailles, where the chariot-borne sun god, his stallions spewing, charges out of a deep pool heading east toward the palace of Louis XIV rather than west?
+The Cooper-Hewitt show begins with the golden age of fountains in the Renaissance and Baroque ages, when the spectacular waterworks of the Villa d'Este in Tivoli were turned on and the great fountains of Rome were designed by the greatest sculptors of the day.
+The show ends in the present, with the waterfall memorial dedicated last year to Franklin Delano Roosevelt in Washington. But rather than present them chronologically, Marilyn Symmes, the exhibition's curator, has arranged the show's approximately 250 photographs, drawings and videos into themes that address fountains as commemoration, as propaganda, as entertainment and as spectacle. There is even a section on the history of hydraulics.
+Fountain design has tended to go in opposite directions: the architecturally pompous and the seemingly naturalistic. The Trevi Fountain of Rome by Nicola Salvi, finished  in 1762, epitomizes both. It seamlessly merges, Ms. Symmes said, 'the organic and constructed worlds of stone.' Out of the  symmetrical arches, columns and pediments (which compose the architectural facade) bursts forth stupendous travertine boulders -- each one carved by Salvi to look as if it were pried from some hoary, wet cavern. The Trevi was already a tourist attraction in 1773, as seen in Giovaninni Battista Piranesi's etchings. (One is included in the exhibition, along with original sketches for the fountain by Salvi.)
+'It all comes down to magic,' said Thelma Seear, the founder of the Fountain Society of London, whose group made a pilgrimage to New York to see the exhibition. 'Fountains are the magic that binds the world together,' she said. 'Of course, they have to work to do the magic. That's why it's so fascinating that there's a lot about hydraulics in the show.'
+Indeed, one of the points of the show is that short water supplies have never discouraged the building of great fountains. Diverting rivers was not uncommon, even in the days before electric pumps. The Avenue of the Hundred Fountains at the Villa d'Este was made possible by rechanneling the Aniene River. And the 1,000 fountains of Versailles were activated by water pumped from a tributary of the Seine, 40 miles away.
+One might expect a considerable gap between fountains developed for public display and those built for private consumption. Oddly, the evidence suggests that when it comes to fountains, public and private often differ only in matters of scale. Geneva's famed Jet d'Eau suspends seven tons of water in a column more than 400 feet high at any given moment. The New York designers Stephen Sills and James Huniford have their own jet d'eau at home in Bedford, N.Y., albeit one that shoots up only 20 feet.
+Dan Kiley, who has landscaped more than 1,500 public and private gardens, sees almost no difference beyond size. 'The thing about water is that it can do what nothing else can do,' Mr. Kiley said. 'But it's always the same process.' For Fountain Place in Dallas, Mr. Kiley composed terraces of water, cascading from level to level, dotted with 440 bald cypresses and enhanced with 263 bubbler fountains.
+Something quieter was called for at the Kimmel residence in Salisbury, Conn. One of the main features of the house overlooking the Taconic Mountains is a croquet lawn edged by two 100-foot water canals that are flush with the grass, thus creating shimmering slick mirages of water. Where they meet, a small fountain erupts, as if bubbling euphorically over the view.
+Fountains needn't be so precise or ornate, Mr. Kiley said. 'Everyone should have some kind of water about them,' he continued, extolling the virtues of the hose and the unplugged fire hydrant.
+The most recent fountains featured in 'Fountains: Splash and Spectacle' are freer interpretations of the word. Maya Lin's Sounding Stones, situated at the Federal Courthouse plaza in lower Manhattan, is made of large stones of granite carved with viewing holes; water runs within, audible but not visible. It draws passers-by to approach, peer through the holes, perhaps to touch the water, thus refreshing the body as well as the soul."
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+THIS year for the first time, Art Basel Miami Beach, the four-year-old annual art fair, is being accompanied by a series of high-profile design events, including installations by Zaha Hadid, the architect, and Ron Arad, the furniture designer, and an exhibition of furnishings organized by Murray Moss, proprietor of Moss, the influential SoHo design store.
+But when the fair opens today, design's boldface names may be upstaged by Adam Kalkin, an architect and artist who is unveiling his Push Button House, a shipping container with motorized walls that unfold like an elaborate Murphy bed to reveal an unexpectedly muted interior with the refined furnishings one might find in a Park Avenue apartment of patrician taste, complete with a couch from George Smith and a lacquer chandelier.
+'It works like a flower -- you push a button and the thing transforms itself,' Mr. Kalkin said last week as he puttered in the 8,000-square-foot factory he rents in Kenvil, N.J., while welders and electricians finished up the Push Button House before loading it onto a flatbed truck for the trip to Miami. 'All the finishes inside are milky and human and delicate,' he added, 'all trapped inside this heavy mechanical box.'
+Houses fashioned from shipping containers are hardly new, as Mr. Kalkin readily admits. A wave of prototypes has been produced over the last few years by architects like Jennifer Siegal and design firms like LOT-EK. But Mr. Kalkin, 41, has continued to push the medium in new and sometimes idiosyncratic directions, often in an unlikely collaboration with Albert Hadley, the 85-year-old society decorator.
+'Most architects have a prerecorded message, but Adam's imagination is endless,' said Mera Rubell, a Miami art collector who said that Mr. Kalkin is a candidate to design an addition to her family's private museum, the Rubell Family Collection. 'He's not held back by conventional necessities. If you want to conceptualize something out of the box, Adam will take you there.'
+Mr. Kalkin has used the container as a centerpiece in a broad spectrum of projects that include affordable housing, refugee shelters, performance pieces, movies and Web sites. 'I'm not into the container per se,' Mr. Kalkin said. 'It's what I can do with it emotionally; transforming a commodity into poetry.'
+Mr. Kalkin's latest series of projects, which he refers to collectively as the Velvet Fist of Happiness, defies easy categorization.
+'Kalkin's work lies somewhere between performance art and architecture,' said K. Michael Hays, a professor at the Graduate School of Design at Harvard. 'I love the way he flirts with the decorative, verging on the kitsch. That's part of his edginess.'
+Mr. Kalkin's self-published book, 'Architecture and Hygiene,' contains childlike renderings of unrealized art projects with titles like the 'Sphincter of Loneliness' and the 'Bicycle-Powered Electric Chair' alongside ready-made plans for container houses.
+But for all his enigmatic posturing, Mr. Kalkin still grounds his work in the real world. He created his own house in Bernardsville, N.J., by encasing an 1880's farmhouse in a cavernous prefab aircraft hangar, a surreal juxtaposition of homey sentiment and industrial grit.
+Mr. Kalkin has already received 10 orders for his Quik House, a three-bedroom prefab built from five containers that was exhibited last year at the Deitch Projects' Wooster Street gallery. The house, which costs between $150,000 and $175,000, plus shipping, depending on the options (the premium version includes a stainless steel kitchen and mahogany sliding doors) will go into production next month at Mr. Kalkin's factory in Kenvil. It can be trucked to a site and assembled within a week.
+A pared-down version of the Quik House, called the A-Pod, will also go into production next year. Selling for $75,000, the A-Pod ('A' stands for Adam) is made from a single 20-by-8-foot container furnished with spartan restraint. Mr. Kalkin describes it as a 'luxurious monk's cell.'
+'You come up with a core idea and then there are all of these spin-offs,' he said. 'It's like making a good bomb. You want it to fragment into five thousand pieces, not just split in half.'
+MR. KALKIN is also using containers for humanitarian purposes, most notably a series of recreation centers for underprivileged children in Russia. Mr. Kalkin created the design pro bono for Natalia Vodianova, a fashion model whose charity, the Naked Heart Foundation, has raised $500,000 to build the first one next year in Nizhny Novgorod, Ms. Vodianova's hometown and Russia's third largest city, which has agreed to provide a 20-acre plot near the city center.
+Mr. Kalkin has also developed a prototype for refugee housing with students at the Pingry School in Martinsville, N.J. The idea was to create a safe, defensible space in the event of war or disaster while also providing a teaching tool. Each dwelling unit, capable of housing up to 40 people, is made up of eight containers stacked on two levels and positioned around a communal courtyard covered by a roof made with parachute fabric. Students are helping to build a prototype on campus.
+Oddly enough, the Velvet Fist of Happiness has also included Wall Street speculation. Last February, Mr. Kalkin borrowed $1 million from a bank and used it to trade stock online. He carefully recorded his transactions, which will be published in a book to be called 'Adam Kalkin, Day Trader.'
+Within eight weeks he made $65,000, much of which will be used to cover the $50,000 fabrication costs of the Push Button House. Mr. Kalkin is also donating $10,000 to a Tanzanian orphanage and leaving $1,000 cash in a paper bag on a public bus.
+'Since I made the money as a performance, I wanted to spend it as a performance,' Mr. Kalkin said. 'I'm treating it like art currency.'
+But he sees all of his transactions, both cultural and financial, as part of the same operation. 'There is a deep humanity in our economic exchanges,' he said. 'They tend to be rational, but occasionally magic enters into the highly regulated system.'
+Even as Mr. Kalkin plays the inscrutable artist, he also produces relatively conventional architecture, as he did for Anne and Matthew Adriance of Oldwick, N.J., who commissioned him to design a 4,000-square-foot summer retreat on a rocky peninsula in Brooklin, Me. Mr. Kalkin stacked 12 orange shipping containers in a T-shape formation on either side of a central living space that was covered by a prefabricated metal roof. The cost was about $125 a square foot.
+'It's the opposite of cold and steely,' Ms. Adriance said. 'There's nothing cozier than waking up on a cold winter morning in your own little container.'
+To brighten the interior and diminish the spam-in-the-can effect, Mr. Kalkin replaced some of the steel panels with broad windows overlooking Blue Hill Bay. Two fireplaces and radiant heating in the concrete floors also help. The hard industrial edges were further softened by Mr. Hadley, the interior designer, who provided deep soft couches and billowing drapes made from pine-green microfiber.
+The Push Button House, on the other hand, is not meant for habitation, though its furnishings, bolted in place, are haunting remnants from a certain kind of entitled lifestyle.
+'I was looking for a kind of traditional elegance, something that screams good taste in a super quiet, understated way,' Mr. Kalkin said. The house itself weighs about 10,000 pounds while the four hydraulic walls each weigh a ton.
+'It's not about play,' he said. 'This could crush you. The mechanisms wouldn't even register the fact that they were crushing you.'
+While the Push Button House may not be intended for mass consumption, Mr. Kalkin is thinking of using hydraulic walls in some of his more commercial projects.
+'He takes everyday life and accelerates the gnarly parts,' Mr. Hays said. 'His houses allow you to restructure the hierarchies of everyday life so that it's not about living in the 19th century.'
+Earlier this week, as Mr. Kalkin oversaw the Push Button House's final assembly in Collins Park in Miami Beach, he anticipated its unveiling. Ever the performer, he orchestrated the event so that the hydraulic walls would open to reveal his father, Eugene Kalkin, a 76-year-old businessman, sitting on the couch reading.
+'My father is inside the seed,' he said. 'He's my progeny, in a way.'
+Instant House
+ADAM KALKIN'S Push Button House will be exhibited today through Sunday at Collins Park, between 21st and 22nd Streets in Miami Beach, as part of Deitch Projects at Art Basel Miami Beach. Hours: Noon to 8 P.M., free to the public. Information on other projects by Adam Kalkin is at architectureandhygiene.com.
+DESIGN NOTEBOOK"
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+WHEN William Wordsworth wandered lonely as a cloud amid all those daffodils, he addressed the poignant dilemma of the individual trying to find a unique place among the masses. One can only wonder how the poet would feel at a new-media company.
+Consider Screaming Media, created in 1996 to provide customized information gathered from hundreds of digital sources to subscribers, mostly special-interest and corporate Web sites. It is in the fashionably raw Starrett-Lehigh Building at 601 West 26th Street.
+Most Screamers, as the employees are known, spend their days trolling the Internet for content or signing on new clients. They sit in a vast open room, designed by Hut Sachs Studio, in which views of the Hudson River are upstaged by numerous hulking shapes, each a different color, pale yellow to deep-sea blue, and tattooed with Futurist exhortations 'curated' by the graphic designer Milton Glaser. These are the conference rooms and 'phone booths,' giving employees visual relief from their monitors -- and their only chance to congregate in semiprivacy.
+In this landscape of anonymous desks and striking sculptural forms, Andrew Meranus, 28, a team manager, says it's inspiring to share a table with five other people; at a glance he can take in 60 more co-workers and supervisors. 'It keeps you energized, looking at all these people with one mission,' he said. 'No one's hiding behind a closed door or cubicle.' For privacy, there's his cell phone, and the street.
+Oxygen, a company integrating a 24-hour cable channel with a Web-site network, all geared to women, is lodged within the top floors of the old Nabisco factory (Chelsea Market is downstairs) and houses an even greater range of activities -- from filming live interviews with the likes of Meryl Streep to writing adventures for Oxygen's Web-site superheroine, Break-Up Girl. The key to the plan is . . . a tire rack.
+Fernau & Hartman architects, of Berkeley, Calif., have used metal-frame shelves commonly found in car repair shops to provide storage and to arrange flexible work stations. In-line-skate wheels attached to tracks on the shelves allow desks to slide together as needed to become conference tables.
+Joy Huang, 30, a producer, sits at a rust-colored desk attached to the tire rack, dubbed 'the zipper.' When she looks up, she is sometimes blinded by the lights of television cameras at the center of the open space, when, for instance, 'Pure Oxygen,' a show that begins on Feb. 2, is being taped.  From a balcony, a D.J./announcer spins music during the show.
+'You get used to it after a while,' Ms. Huang said. 'I did, by putting on earphones.' In fact, Ms. Huang said she was learning a lot just by watching from her desk. When she needs to concentrate, she comes in early or stays late, sometimes till 3 a.m.
+Screaming Media and Oxygen use architecture to hammer home the message that this generation of new-media worker bees is not about to do business as usual. And while there isn't much new about office spaces that try to liberate their workers from cubicles, these companies have an even more expansive vision of the workplace as playground where recess is taken very seriously. Free of corner office suites, hierarchical office planning, even walls, these new domains celebrate community over privacy, collaboration over solitary invention.
+Both companies wanted design on a budget. Oxygen spent approximately $60 a square foot; Screaming Media, an extremely modest $45.
+Strolling around Oxygen's hangar-size office on Ninth Avenue and 15th Street, Kit Laybourne, the director of animation and the husband of Oxygen's co-founder Geraldine Laybourne, called the space, which he helped conceive, part learning institution, part nourishing community, but basically 'a digital sweatshop.'
+'We wanted a cool office that was fun to work in so that we'd attract digital kids,' he said.
+Richard Fernau, its architect in association with the Phillips Group of New York, called his approach to the design an improvisation act. His job: 'accommodating chaos.'
+His overt attempts to transform O2  into a visible motif, with fish tanks bubbling away in conference rooms and scrims rippling in jet streams, get lost in the hubbub. Yet, some neologisms have taken hold. Employees at Oxygen do speak of working 'on' or 'off' the zipper (yet on a recent visit, no desks appeared to have been moved together).
+At Screaming Media, the looming structures that float throughout the space are known as pods, while blue curving tables for temporary workers are called ponds. ('Very Bilbao,' said Martha Stewart, who is creating a completely open floor of offices for her company in the same building.)
+Jane Sachs, Screaming Media's architect, said she was inspired in these sculptural gestures by Richard Serra and Frank Gehry -- but primarily by her 20 years as a potter. She added: 'To leave it open would have been deadly. With a sea of desks, it would have looked like the drones in 'Metropolis.' '
+Another influence on the design was Jay Chiat, the chairman of Screaming Media, and most recently of Chiat/Day, the advertising agency, where he gave staff members laptops and told them to work wherever they liked. At Screaming Media, Mr. Chiat has a desk in the middle of the space. 'Everyone knows who's important here,' he said. 'They  don't need offices to establish that.'
+At Oxygen, his counterpart, Ms. Laybourne, does have an office, with walls of wavy translucent garden-shed plastic.
+'Geri has evolved,' Mr. Fernau said. 'She was out in the open in her last office, but kept retreating to the conference room. So we gave her an office.'
+DESIGN NOTEBOOK"
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+AS a resident of Manhattan for more than a decade, I have made a hobby of watching design trends that bloom out of nowhere and spread through the masses. Each gadget ultimately earns its rightful longevity, weaving its path between function and fashion.
+So I eagerly awaited the New York reception to an ingenious cellphone attachment, the Pokia, which gives mobile units a proper, old-fashioned handset.
+The retro accessory, now only a series of prototypes made in London by the British designer Nicolas Roope, was inspired by Mr. Roope's disdain for the trends in cellphones, which seem to have reached a dead end with metallic and miniature becoming moronic and minuscule.
+Mr. Roope sent me one of his originals, a 60's Ealing model with matching spiral cord. I plugged it into a Nokia cellphone, and I was off, walking the streets of Midtown Manhattan this week. It felt strange at first, but the way the Pokia cradles in your hand, and fits against your head, was comforting. And it truly can be hands-free -- with the receiver trapped between head and shoulder.
+But saying goodbye was a jolt. I kept wanting to place the receiver on the body of a phone that wasn't there. The receiver is large, but luckily, I had jeans with large pockets.
+The sight of a man walking down the street talking on a disembodied old-fashioned phone elicited a smile or a knowing laugh from passers-by, but no one seemed to want to interrupt my conversation to ask me about the phone. (Aren't New Yorkers polite?) Then again, an explanation didn't seem necessary. People seemed to get what the Pokia was saying.
+Mr. Roope, 32, co-founder of the British creative agency Poke, came upon the idea for a hands-on cellphone receiver when he was a consultant for a cellphone company. 'I noticed a complete lack of cultural context in their new product design,' he said from London by telephone.
+'Ten years ago, we were all excited by cellphones because they were new,' he said. 'Manufacturers and designers alike responded to this excitement by designing them as futuristic and sci-fi. Now, 10 years later, they're still stuck there.'
+Mr. Roope (whose phone Web site is www.pokia.com) said it takes about an hour to put each phone together. So far he has sold his phones only on eBay.
+'It's an easier way to let people scrap it out than get into arguments about how I choose to fix a price,' he said.
+His prototypes, made from handsets he finds, range from the Ealing in British Health Care pink to the Mayfair model -- an old-fashioned, mock brass and wood candlestick design, complete with an earpiece that latches onto the side.
+Mr. Roope said he hopes to get the Pokia produced around the world. But he admitted, 'The design is a bit of a one-trick pony, a fad.'
+'It's not a solution as much as it is a stimulant or catalyst to draw people's attention toward the fact that cellphone design has been heading in one direction for too long,' he said.
+Nevertheless, Mr. Roope's idea and his various prototypes have been covered enthusiastically in British, Italian and Swedish magazines and are starting to be noticed in technology-crazed Japan.
+Bidding on eBay for one Pokia phone, he said, reached $140. Other phones sold there include a red Hotline handset, and the Boston 661, an ivory-colored plastic model with a squared-off mouth- and ear-piece, which sold in March for $40 to Neale Willis in Wimbledon.
+In an e-mail, Mr. Willis called the Boston 661 'a tasty little number,' and wrote, 'My flatmate is in awe of it.'
+Since Mr. Roope's idea made its debut over a year ago, knock-offs have popped up on eBay and elsewhere on the World Wide Web. It turns out that with an old handset, a soldering iron and a little technical skill, pretty much anyone can make one.
+'My biggest strengths are revealed in the title 'idea person,' ' Mr. Roope said.
+Changes in the design of technological devices can sometimes be frustrated reactions to a ho-hum marketplace. Hence the digital cuckoo clock, or stereo speakers made of hollowed-out gourds. These fads are signals that the digital clock, for instance, is no longer new and that the stereo speaker has fully insinuated itself into everyday life. But however fleeting reactionary fads may be, they can have an impact farther down the line.
+As far as cellphones are concerned, maybe it is time for a rethink, for a step backward. On the surface, humorous nostalgia might not be the most forward-looking aesthetic choice.
+Mr. Roope's accessories may look like a throwback to car phones from the 'Starsky & Hutch' era, but I would like to see his idea take off, in some form, among the bobbing herds of Manhattan pedestrians (half of them gabbing on infinitesimal silver cubes jammed to one ear, the other half babbling on headsets).
+Could you imagine New Yorkers holding various 70's hues of bricklike plastic to their heads, with a spiral phone cord attached to a cellphone clipped to their belts?
+Impractical perhaps, but when has that ever stopped a trend explosion? I imagine hipsters slumming outside Schiller's Liquor Bar on the Lower East Side, smoking cigarettes as they gab away on plastic handsets attached to the hip pockets of their Habitual jeans.
+I see rows of spiral plastic cords bobbing in unison behind the large glass windows at Crunch. The drivers of the antediluvian pedicabs I see around town would be talking on large red handsets, fielding calls from customers. I see a cellphone store on 14th Street that actually has an interesting selection.
+Of course, that would happen only if the Pokia goes into production.
+DESIGN NOTEBOOK"
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+AUCTIONS are about shopping. But increasingly, they are becoming a chance to reflect on the ultimate futility of acquisition.
+Consider Sotheby's dispersal of the Duke and Duchess of Windsor's household chattel, from the formula for her L'Oreal hair dye to his painted taffeta heraldic banner to their 1940's neo-traditional furniture by Jansen, the eminent Parisian design house. These and more than 40,000 other Windsor relics will be disposed of in a nine-day sale that begins Tuesday at Sotheby's.
+Emboldened perhaps by the round-the-block lines for the Jacqueline Kennedy Onassis sale in 1996 and last year's auction of the estate of Pamela Harriman, Sotheby's specialists have used the Windsor windfall to exercise a curatorial breadth and narrative swagger that is more typical of museums than of auction floors. This distinction is partly due to the expertise of Ralph Appelbaum Associates, a New York design firm specializing in museum shows. Instead of simply setting out the possessions like so much merchandise to be moved, Appelbaum, in partnership with specialists at Sotheby's, has transformed two selling floors into a theatrical fun house suffused with a flair similar to the one Diana Vreeland brought to the moribund Costume Institute of the Metropolitan Museum of Art in the 1970's.
+Half documentary and half high-tone estate sale, the auction and its installation carry a poignant subtext that gives visitors an experience that may be more serious than they, and perhaps even Sotheby's, bargained for. The Windsor story, as seen here, is a contemplative and deeply moving visual biography that tells several cautionary tales -- of consumerism run amok, of lives unfulfilled, of chances wasted, and of cultural wounds that remain resolutely unhealed.
+One elderly man was overheard at a preview this week muttering deprecations about the Duchess as he glared at a giant image of her and the middle-aged Duke beaming in the entrance hall of their mansion in the Bois de Boulogne in Paris. After 62 years, it is apparent that neither style nor time has given the Windsors a break. Of course, they only had themselves to blame.
+When measured by reality's cold light, the Windsors' celebrity was based solely on one rash act. 'Why are we celebrating?' an old acquaintance of the Duchess's pondered in his journal when the dethroned King and his wife drove through her native Baltimore in an official motorcade. 'She brought down a king.'
+The Duke made no lasting impact on history, except in fashion, with the Windsor-knotted tie and a daredevil abuse of tartan. The Duchess, who wrote that 'the possession of beautiful things is thrilling to me,' supported none of the arts except couture.
+Neither of them said anything particularly memorable, though the Duke's declaration that he abandoned his country for 'the woman I love' has a certain fatalistic glamour. The Duchess's brittle bon mot  about never being too rich or too thin (Elsie de Wolfe, one of her decorators, probably said it first) resounds  with what Noel Coward once called the potency of cheap music.
+In the end, the sum of the Windsors' lives is not a matter of history but of the accumulation of possessions. The public exhibition of their goods opened on Tuesday and runs through Monday. Net proceeds from the sale, which Sotheby's estimates will bring in $5 million to $7 million, are to be distributed to children's charities that were supported by Dodi al-Fayed and Diana, Princess of Wales. The sale had been scheduled for September but was canceled when the couple were killed.
+A close look at the Windsors' displaced furnishings reveals a luxurious, slightly camp stage set on which not even the actors seemed secure in their roles. A magnificently stylish pair of tortoise shell and ivory consoles by Jansen turn out to be artfully painted wood an eighth of an inch thick. Then there is the avalanche of oversize monograms, exquisitely worked in gold, red or blue -- on handkerchiefs, handbags, pillows, shoes, telephone books, note paper, even china toothbrush cups.
+There are so many monograms one gets the uncomfortable feeling that the Duke and Duchess spent their 35-year marriage on the defensive, barricading themselves behind a battalion of interlocked W's and E's, legitimizing their 15-acre kingdom in the Bois de Boulogne with a constant visual reinforcement of their position as semi-royal exiles.
+Various reasons have been given for the emptying of the Windsors' turn-of-the-century house, where they lived from 1953 onward (the Duke died in 1972 and the Duchess in 1986). Mohamed al-Fayed, who owns Harrods in London and the Ritz Hotel in Paris, leased the house and bought its contents after the Duchess's death and spent the next three years  restoring it as a private museum. Then last year, he suddenly announced that he and his family needed more room -- specifically that occupied by the Windsors' oddments.
+'More room' is a reason any New Yorker can understand, but after walking through the Sotheby's installation, it seems possible Mr. Fayed's decision to sell was more personal than spatial: perhaps the psychic weight of the Windsors' possessions was too oppressive to bear.
+Sotheby's show -- an intersection of gossip, society, decoration and politics -- takes the benighted Windsors from cradle to altar to grave. Transparent white panels printed with larger-than-life photographs of the Duke and Duchess and interior views of their three-story mansion serve as backdrops that give the essence of 10 of their rooms: the entrance hall; the salon; the dining room; his bedroom, bathroom and study; her bedroom and dressing area, and their private sitting room.
+Chairs and tables, set on either side of the scrims, surrealistically fade in and out of view, as in holograms. Quotations from letters and poems are flashed onto the walls of the chronologically arranged mise en scenes, providing a shorthand account of how Queen Victoria's towheaded great-grandson grew up to inherit his family's throne, only to renounce it 11 months later to marry Wallis Warfield Simpson, a twice-divorced American.
+There are treasures here, of course. When a couple's only hobby is spending money, they are bound to make a few good purchases. The most valuable Windsor relics were dispersed long ago, however. The Duchess's vast jewelry collection was sold by Sotheby's in Geneva in 1987 for $50.3 million, and most of the 18th-century French antiques and porcelains were willed to Versailles and the Musee de Sevres. But hundreds of choice items remain.
+Some are personal, like the Windsors' honeymoon photo albums and a rag doll in the guise of a chimney sweep, reputedly made for the infant Duke by his mother, Queen Mary. Others are decorative, like the multiple sets of china, the dashing Jansen furniture and a baroque painted commode once owned by Syrie Maugham. Then there is the abdication desk, a plain-spoken Georgian antique from Fort Belvedere, the Duke's bachelor retreat near Windsor Castle, that by all rights should end up in a museum in England, not a living room on Park Avenue.
+Objects related to the abdication crisis -- the desk, the speech, the newspaper clippings and private correspondence -- are indeed mute witnesses to one of this century's great political stories.
+But the intimate possessions are distinguished solely by their associations: the Duke sat on this, the Duchess sipped from that. Curiously, it is precisely because Sotheby's has taken such pains to detail every facet of the Windsors' lives that the implied importance has been beaten out of  nearly every object. In the end, the Windsors were just Wally and David, a smug, rich suburban couple.
+Twenty years after the Duchess slid into a decade of suspended animation, a prisoner in the kingdom of her own design, it is possible to view her towels and costume jewelry and bed as mere things, the sad trappings of a philosophy of living that led her to write a psychologically revealing love letter.
+'Darling,' she wrote the dethroned King in February 1937, as she cooled her heels in Cannes while waiting for her divorce to be made final. 'I want to leave here I want to see you touch you I want to run my own house I want to be married and to you.'
+It is the sequence of words that shivers the spine: running a house is more crucial to her well-being than the man who would share it. And the relics that Sotheby's has enshrined for public delectation are symbols not so much of a great romance but of a passion for security.
+And so it is not inappropriate that her domain -- in exile, as much as she and the Duke ever were -- would be relinquished chair by chair, pug by pug. Until at the end it will have vanished entirely, leaving Sotheby's salesrooms empty and placing the Windsors where they rightfully belong: on the fringes of cultural consciousness, grace notes in the concert of 20th-century history.
+Correction:  February 13, 1998, Friday  An article in the House and Home section yesterday about an auction of property once owned by the Duke and Duchess of Windsor misstated the day on which the nine-day sale begins at Sotheby's. It will be Thursday, not Tuesday."
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+TASTEFULNESS is not something David Bouley is used to worrying about. On the plate, it hasn't been a problem for Mr. Bouley, the chef and owner of the four-star Bouley Bakery. But he is standing in the entry of his new 3,800-square-foot restaurant, Danube, worried about the speckled Brazilian granite that he thinks looks like Gustav Klimt paintings, 3,000 copper leaves that canopy the ceiling like the Secessionists' dome in Vienna and every other detail of the $1.8 million establishment, opening on Monday at Hudson and Duane Streets.
+'I don't know what I'm doing, to tell you the truth,' Mr. Bouley said of his newly flexed decorating skills. 'I wanted it to be a special place. I wanted people to have a shock.' He let out a nervous laugh at what could be a self-fulfilled prophecy. 'I mean, do you like that stone?'
+Under the laurel-leaf crown, Mr. Bouley, 46, wore an unpressed white shirt, dusty blue jeans and duck-foot-shaped French shoes, his curly hair what the French would call a melange of peppers: black, white and gray.
+Danube is Mr. Bouley's Scheherazade-meets-Kubrick's-Arthur-Schnitzler interpretation of a high-water mark in 20th-century culture: the Austria of Gustav Mahler and Josef Hoffmann, and the arts and cuisine of the Eastern European countries along the river Danube.
+Whether waltz or schmaltz, Paulina Porizkova, the Czech model, was overcome. 'She walked in and she said she had to sit down,' Mr. Bouley said. 'She felt wrapped up, like she was with her mother, going to Prague.'
+Danube's Zsa-Zsa decor is the opening shot in the New York restaurant world's Russian-Austro-Hungarian war. Warner LeRoy, the impresario behind Tavern on the Green and briefly Mr. Bouley's business partner, is rebirthing a legend: the Russian Tea Room on West 57th Street, scheduled to open on Oct. 4. Four years in labor and two years late, the seven-story tea-room construction site looks less like a theatrical extravaganza inside than the scene backstage at the Metropolitan Opera House during a cancellation-plagued production of 'Boris Godunov.'
+On the second floor, cavernous as a Caribbean-cruise-ship dining room, the Tea Room's mascot -- a 15-foot-high, 2,500-pound acrylic bear-shaped aquarium that will house live sturgeon -- is headless and benignly bubble-wrapped, like a diver without his helmet. Shards of sapphire-blue and white mirror spike the sheet-rocked walls like broken glass. On the third floor, Mr. LeRoy's Tiffany-glass ceilings, recycled from his restaurant Maxwell's Plum, are in place; on the walls are more anatomically neutered larger-than-life Russian polar bears, discoing like intoxicated singles in carvings on 10-by-5-foot glass panels.
+'We had to be very careful to make them completely nothing,' said Kathy Bradford, the Colorado-based glass artist involved, of the boy- or girl-bear issue.
+Missing in action is the $500,000 Faberge-inspired Venetian glass-egg tree. The bronze bear chandeliers fabricated by the Indian company that supplied Trump's Taj Mahal in Atlantic City are nowhere in sight. Still a coming attraction: the Red Square diorama with a working model of the Kremlin, created by Keith Gonzales, who helped design the 'Siegfried and Roy Spectacular' in Las Vegas.
+The Russian Tea Room was to be Mr. LeRoy and Mr. Bouley's wedding hall. The partnership that brought together two of New York's most prominent restaurateurs in 1995 blew apart two and a half years later, with a lawsuit filed by Mr. LeRoy charging that Mr. Bouley misappropriated funds. The suit was settled out of court.
+Now, it is difficult not to view the timing of the two new venues as anything less than a duel: a midtown-downtown showdown.
+Mr. Bouley's Prussian operetta of a restaurant is a few bullets shy of Mr. LeRoy's $20 million box-office Muscovite bear burlesque, but as another of Vienna's famous turn-of-the-century citizens, Sigmund Freud, demonstrated, obsession can make history, too.
+Standing in Danube's Orient-Express-like bar, beneath a red plaster ceiling that was flown in from France, Mr. Bouley corrected the impression that the little room was a sunburst of gold paint.
+'No, that's gold,' he said. 'It's either 22-karat or 18-karat or composition gold.' In his bomb-shelter-style office across Duane Street in the Mohawk Building, which is to become two more restaurants, a cooking school and a food court, he keeps a box of gilt samples: gold, platinum, silver; frail as leaves of phyllo dough.
+'I wanted to create something that was as far from the minimalists as I could go,' he said. 'You can't just do a few fancy things, I realized. It's better to do none, or many and create a harmony.'
+Mr. Bouley has come a long way from the painted rain gutters that formed the lighting coves in the original Bouley restaurant, also on Duane Park, which he designed and built himself in 1986 with his brother Martin.
+The stakes are higher now. 'It's like buying an expensive car,' Daniel Boulud, the chef and owner of Daniel, the three-star French restaurant, said of the current relationship between dining and decor. 'You buy it for the engine, but the leather, the details -- these amenities count as much. It's important today.' Mr. Boulud, who designed his first restaurant with Mara Palmer, his wife's step-grandmother, hired Patrick Naggar, a residential designer, for his new dining room, a mock palazzo that drew criticism for its lack of intimacy. Mr. Boulud, who has redesigned parts of it, called it a 'work in progress.'
+Danube's silk-pleated, Edwardian-fringed gaming-table lanterns, gold-mica-waxed ceilings, Venetian stucco work, Secessionist murals and full-scale reinterpretations of well-known Klimt paintings, including 'The Kiss,' are meant to 'bring back a richness of atmosphere that really made you stand up and take notice,' Mr. Bouley said, 'things that are beautiful from a craftsman's point of view: the hand of the artist.'
+He hopes that this atmosphere will complement his craft in the kitchen, where with the executive chef, Mario Lohnigner, he is producing a menu of such Austro-Hungarian specialties as Wiener schnitzel and spatzle newly interpreted, like the Klimts.
+Mr. Bouley worked with a decorator, Jacques Garcia, whose Paris office superintended commissions like the French gold, cut-velvet draperies, the mock-Turkish English carpet and the Joseph Maria Olbrich-style black-lacquered furniture.
+Mr. Garcia, 52, who has a reputation for opulent, historically detailed interiors, is to be the star of the French Designer Showhouse opening on Oct. 14 in New York. Mr. Bouley admired his work for the Hotel Costes in Paris, where they met. Mr. Garcia also designed the Sultan of Brunei's 60,000-square-foot residence on the Place Vendome. The decorator restored a 17th-century Norman chateau, Champ-de-Bataille, with a 30-acre Le Notre garden, for his own use. The French Government had refused it as a gift because of renovation costs.
+Despite his client's four-star knack for simplicity, Mr. Garcia said that he thought Danube's lavishness revealed Mr. Bouley.
+'What is complicated comes from perfection itself,' he said. 'David is a perfectionist, absolutely.'
+Mr. Bouley's effort involved 30 European craftsmen and a mid-waltz change in architectural partners, from Harman Jablin, Mr. LeRoy's team, to Kevin White. After three tries, Gerard Coltat, a muralist from Nice, got Klimt right. At Mr. Bouley's insistence, he replaced the faces in two portraits.
+'The first one was too ugly,' Mr. Bouley said. 'The staff called her 'Bucky.' ' She now looks like Cindy Crawford in a pompadour. Mr. Coltat also exposed a breast.
+With its Brahms and Strauss CD's swirling like ballroom-dancers through a $12,000 music system, the 65-seat Danube, whose exoticism proved to be unexpectedly elegant on a recent evening, will be a private entertainment by comparison with the Russian Tea Room.
+James Kuryloski, the owner of the Felber Ornamental Plastering Corporation, which is supplying Mr. LeRoy with fake stag heads, said of the Russian Tea Room, 'As far as anything we've done, the only thing close is Opryland down in Nashville.'
+'We found a fellow in Texas, a taxidermist, who was able to get a beautiful natural pair of antlers as a model,' Mr. Kuryloski said. 'Warner said there weren't enough spikes on them, so we had to add spikes to suit extreme tastes.'
+For his part, Mr. Bouley isn't closing the book on expanding the realms in his empire. 'Danube is a byproduct of some of the energy that went into that,' he said in his office, where he thumbed through a thick ring-binder with close to 1,000 Russian recipes that he had developed for his venture with Mr. LeRoy. 'I had a good time doing this,' he said. 'I'll have to open a Russian Tea Room one day.'
+DESIGN NOTEBOOK"
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+IN Russel Wright's hands, even a hostess plate could be didactic. With its indented thumb hold, raised ring for holding a glass and partition ridges for church-and-state segregation of meat and potatoes, the plate, like all of Wright's enormously popular tablewares, linens and furnishings from the 1940's and 50's, had an agenda: to show Americans that life at home could be as easy and efficient as a new washer-dryer.
+Rarely has product design been wielded so effectively as a tool for change. While Wright was not the first modernist to espouse the simplifying, streamlining benefits of the machine-made, he was among the most determined to give that lesson an elegant form suited just for the home.
+'Russel Wright believed in good design for everyone,' said Robert Schonfeld, co-curator with Donald Albrecht of 'Russel Wright: Creating American Lifestyle,' opening on Tuesday at the Cooper-Hewitt National Design Museum. 'He was dedicated to a notion of service and wanted to deliver something good, virtuous and of a positive value for the American consumer.'
+For all his conviction that modernity was the path to smoother domesticity, however, the show also reveals that Wright's own life -- spent commuting between Manhattan and a country house, with the help pitching in to change even the cabinet doors to the right seasonal color palette -- was anything but streamlined.
+The exhibition presents a wide array of Wright's designs, from the most familiar (a complete table setting of American Modern in lettuce green) to the exceedingly rare (1932 pony-skin Cowboy Modern chair). The exhibition and accompanying catalog (Abrams, $35) offer a cultural snapshot of the three decades starting in the 30's when Wright was at his most influential -- and ubiquitous, thanks to department store demonstrations, Life magazine profiles, advertising campaigns and books. Ralph and Martha, take notes.
+'He was very much part of the moment that was experimenting with Modern and trying to give it a personal touch, like Nakashima or Frank Lloyd Wright,' said Michael Graves, the architect and a prolific product designer himself. 'Where Bauhaus Modernism was pretty chilly and antiseptic, his work was certainly not machine-driven, but very hands-on, even craftsy.'
+While other industrial designers like Raymond Loewy, Donald Deskey and Gilbert Rohde focused on corporate offices, Wright understood that the American middle class needed help at home. The Depression and World War II had erased the old domestic landscape. Servants were no longer affordable; formal parlors were impractical; private bedrooms de rigueur, even for children. Beneath the banner of 'convenience,' consumerism was on the rise. And Wright was at the ready. With the help of Mary, his wife, muse and in-house marketing maverick, he resolved to teach Americans how to modernize their homes, down to their compartmentalized sock drawers.
+The new suburbanites were isolated. So Wright proposed the buffet as a way to throw people together. He analyzed the buffet table with logistical precision, prescribing a T-shaped layout for maximum efficiency.
+For department stores, Wright devised 'starter sets' of his best-selling American Modern plates, allowing those who hadn't inherited Grandma's Limoges to start a collection (a six-place setting cost about $14.50 in 1939).
+Last month, Sakura, a division of Oneida, introduced a 13-piece reproduction line of Wright's tablewares based on pieces from the American Modern and the sturdier Iroquois Casual china in signature colors including lettuce green and bean brown, for $7.99 to $29.99 a piece.
+A brand-name success long before Lifshitz became Lauren, Wright put his name on everything, from bedsteads to glassware. 'They were precursors to my idea that approaching the mass market with good design and good quality at reasonable prices is a good thing to do; and I like that,' said Martha Stewart, who collects American Modern tablewares, but only in granite gray.
+Essential to Wright's enormous success -- American Modern was one of the best-selling tableware lines in history -- was his ability to create Modernist forms crossed with American traditions. His early furniture was made of maple, Mr. Albrecht said, to bring to mind Colonial styles (it also came in a pale wood, which Mary Wright was the first to label 'blond'). Prompted by reports of a rise in juvenile delinquency and well before developers concocted the great room, Wright advocated large kitchens dominated by family dining tables and even couches.
+In 1950, the Wrights published their manifesto, 'Guide to Easier Living.' It captured the spirit of an upbeat era that reduced all of life to engineering problems with scientific solutions. A chart explained the 32 steps to 'Scientific Bedmaking.' Housekeeping essays were based on the latest time-motion studies, and sketches showed dinner guests doing the party dishes.
+The Wrights' portrait of a streamlined suburbia bore little resemblance to their own lives. Both came from well-to-do backgrounds -- his father was a judge in Ohio; her family owned textile mills -- and they never considered exile to the suburbs. They divided their time between a triplex penthouse on Park Avenue and an 80-acre estate in Garrison, N.Y. According to Ann Wright, the couple's daughter, guests like Amy Vanderbilt and the Rockefellers considered it an amusing lark to help with the dishes.
+Then in 1952, Mary Wright died of cancer, leaving her husband to take care of Ann, then 2. 'His life became all about being a single parent and adapting to a situation he had never anticipated,' Ms. Wright said. Her father became more controlling. 'All the drawers were labeled in the kitchen. He even labeled his own drawers: winter socks, summer socks. There wasn't a lot of room for free thought, but at least you always knew where everything was.'
+By the 1960's, Wright was still a merchandising phenomenon, but his new designs were no longer mass-market hits. He continued to experiment, as in the Ming Lace Leaves plates, with real jade leaves embedded between melamine plastic. In 1965, his last line, Theme Informal, was made of lacquered Bakelite but never caught on as a brighter, more artificial sensibility took hold in America.
+By the 70's Wright had withdrawn to Garrison, where he had built a house buried into the rock of an old quarry. His daughter named the place Dragon Rock. Domesticating its outcroppings into indoor-outdoor dining ledges and bathrooms with hot-and-cold waterfalls instead of faucets became Wright's final design for living. He died in 1976.
+Magnificently impractical, Dragon Rock embodied many of the contradictions simmering just beneath the surface of Wright's domestic philosophies. With walls of rock it was nearly impossible to clean. He enlisted his daughter and the housekeeper into projects like pressing hemlock needles into epoxy for a wall screen and stapling seasonally color-coded curtains to the ceiling.
+Dragon Rock was magical and improvised, said Ms. Wright, who lived there until eight months ago (now called Manitoga, the Russel Wright Design Center, it is open seasonally and by appointment; 845-424-3812).  'But he still wanted it to be always neat,' Ms. Wright recalled. 'It was up to the English governess to run herself ragged keeping it clean.' So much for easier living.
+Design Notebook"
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+CRUMPLED dish towels dry on an exposed radiator, paint flakes off a windowsill and electrical cords snake their way to a low table decked with dirty cups and saucers. Scattered crumbs and coffee scum are clearly visible.
+A gritty scene set in a prison cell in the television drama 'Oz'? No, it's the latest sales catalogue from Habitat, a home furnishings chain owned by Ikea, and it's available in Britain and elsewhere abroad.
+With its models in wrinkled clothes face down on a pile of pillows, seemingly passed out in an unmade bed or rubbing the sleep from their eyes, Habitat is firing the first salvo in a radical image makeover. Call it the Morning After Look: take two aspirin and call a cleaning lady as soon as possible.
+In Britain, where the catalogue has already sold a million copies, 20 percent more than last year, some people are scratching their heads. 'Habitat does heroin chic for the home?' asked Simon Mills in The Evening Standard, a London newspaper, referring to fashion's recent dalliance with hard-core realism.
+A Habitat spokeswoman, Berna Sermet, leapt to the defense. 'Habitat did not consciously produce a catalogue to reflect a trend in untidiness, but to display beautiful products within realistic homes,' she said.
+Needless to say, the position of every scattered pistachio shell was calibrated by a battalion of stylists. (The absence of any cigarette butts or even wineglasses underscores how carefully this vision of authenticity was edited). The social realism of the Habitat catalogue is just as artificial as the latest trendy pad in Wallpaper, where even the flower petals seemed fixed in styling gel.
+Defining the boundary between what's real and what's really real has become a favorite parlor game on the culture scene. In the movie 'American Beauty,' zombie suburbanites anesthetized by the good life finally break out and live an even better good life (complete with feet on the sofa), suffering only a few violent consequences.
+The Morning After Look may not be catching people literally in bed, but at least there are signs of life in these pages. Karrie Jacobs, the editor of the forthcoming American magazine Dwell, considers it a welcome change and hopes to incorporate a sense of realism in her own magazine. There is something unsettling about the way homes are usually shown in magazines and catalogues, she said.
+'Don't people in these photographs ever eat anything but perfectly arranged fruit?' she asked. 'Don't they ever buy packaged goods? Their homes all look like they were photographed shortly after a neutron bomb hit.'
+Nest magazine, a design guide for idiosyncratic esthetes, has already carved out a niche for its own brand of highly stylized realism. In the spring issue, a living room is shown with four cat litter boxes under a coffee table, plastic bowls brimming with kibble under the stereo and a protective blue plastic cover on the sofa. The cats themselves lurk on the sofa, a radio and a battered table.
+Joseph Holtzman, Nest's editor, said he wasn't so interested in the home's realism but in the decorative patterning expressed by a pack of cats loose in a room. 'I'm obsessed with the presentation of atmosphere and surface,' Mr. Holtzman said. 'That's where the realism of photography should be focused, not on the butts in the ashtray.' Nonetheless, the reader gets the message: enter this room at your own risk.
+Stuart Ewen, author of 'All Consuming Images' (Basic Books), described the look of dishabille as 'a real break with suburbia and the sense of home as a place of leisure.' He added that the ideal consumers to respond to this esthetic of the undone are new media moguls and computer technocrats with plenty of money to spend but no interest in ever leaving the office. The Morning After, apparently, follows a night spent staring at a computer screen.
+'These images address people who don't view their homes as the centerpiece of their lives, people for whom home life is a necessary inconvenience on their way to work,' Mr. Ewen said.
+The perfected image of life presented in magazines like Martha Stewart Living may be losing its cachet. Getting the attitude right has taken priority over getting the right sofa.
+The creative team at Habitat came up with the catalogue's look by combing through back issues of the catalogue to find the groovy images of real life that Terence Conran formulated in the 1970's to sell the same molded plastics and ladder-back dining chairs that are popular today and are once again in the catalogue. Sir Terence, who founded Habitat and sold it to Ikea, said he warned the company against selling mood. 'They told me that they wanted to recreate what I had done many years ago, and I said: 'Listen, you've got it all wrong. What we were trying to do was just be optimistic. Just show the products!' '
+Sir Terence is hardly immune to setting a little tone. When the new Conran's catalogue is issued next month and shoppers come across two half-empty glasses and a bottle of Heineken beer on the kitchen table, they should remember that it's not attitude -- it's real life.
+DESIGN NOTEBOOK"
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+IT was only a matter of time before New Yorkers, who have been called every kind of bum, would want to be ski bums too. Not in Aspen or the Alps, but right here. That bottled mountain water you see in every hand is going to people's heads.
+Three scene-savvy restaurants and clubs -- Chateau, Industry (food) and Butter -- have opened in New York in the last month, with enough planed sauna cedar, cowshed-plank cubbies, split-birch-log lounges, copper-pot and kindling-twig ceilings, white photomural forests and live trees to make you ask yourself whether Heidi Klum is the only Heidi in the room.
+Whether it's trickle-down Peter Zumthor, the Swiss architect whose wood-souled work has been widely featured in fashionable design circles recently, or the May ice-cap melt, anyone who thinks that a downtown-style drinking, dining or lounging experience involves, by necessity, concrete, glass, chrome or minimalism in other cool materials would be wrong, as of just now. The look's being axed.
+'I spent a ski season in Lake Tahoe with my best snowboarding buddy,' said Alex Freij, an owner of Industry (food), at 509 East Sixth Street (Avenue A), where Madonna and Italian Vogue gave parties in the last three weeks. 'Tahoe's homey, woodsy. We always talked about making it happen in New York.' Mr. Freij -- in speed, altitude and concept -- makes talking on the telephone its own extreme sport.
+'I don't like sterile restaurants,' he said, explaining that he added '(food)' to Industry's name because 'I want to be legitimized as a restaurant,' not a scene. 'After the definition crowd has left, we're looking for a neighborhood crowd. It has to be comfortable and approachable.'
+Mr. Freij tried this with old wood, which he sourced online at www.antiquewoods.com, run by a company in Canada, and D&R Antique and Specialty Woods (www.dr-woods.com) in Flanders, N.J.
+On Saturday night, a young polyglot crowd, shouting happily in several languages, looked comfortable as people approached one another at the Bunyanesque bar.
+Industry (food)'s pine plank walls are 19th-century barn wood. The bar face is chestnut from a log cabin, circa 1800. The street facade is pine plank; the front door is split birch logs with a birch log handle. Mr. Freij's architect, Paul Carroll, furthered what he called the 'alpine retreat' effect by enclosing a backyard behind the restaurant, paneling it with planking and adding steel-frame exterior windows with greenhouse glass that look from the upstairs dining room down to the lounge, as though from a chalet balcony. Your waiter is a yodel away.
+Mr. Carroll built around existing outdoor trees, which now grow through the bar, next to the D.J.'s turntables. Seating cantilevered above the two-story atrium is 'a reference to a ski lift,' he said. A glowing tiger's-eye cut-glass bar surface, lighted from within like a homicidal idea, lends the establishment the ambience of the Overlook Hotel in Stanley Kubrick's 'Shining.'
+At Chateau, 133 Seventh Avenue South (West 10th Street), in the club space that was Moomba before it was put to pasture last year, the design's foundation is fondue. 'I used to go to Switzerland with my girlfriend,' said Gordon Von Broock, an owner. 'There was a fondue place in Zurich. That's the whole concept here.'
+Chateau's weathered-to-gray cocktail nooks -- yet another 150-year-old barn busted apart -- lack only the hay to make them as nestlike to cute baby animals, like calves and kids, as to models and junior V.P.'s.
+'It sat out in the elements,' said Kip Marsh, a partner in the Catenary Design Group, who worked with Mr. Von Broock to realize the interiors. In conversation, Mr. Marsh has an excitability that gives the impression that he is trying to answer any and all questions at once.
+'Oh no man, that's raw,' he said, when asked if the wood had been enhanced. 'We wouldn't touch that. Nature's done a pretty good job.'
+Mr. Marsh, like Mr. Carroll at Industry (food), cited an alpine lodge as his intention. His design group was unaware, he said, that two other projects with extensive wood finishes or literal forestry, Chateau and Butter, were also under way -- like the three Crusades projects neck and neck (and neck) in Hollywood offices this month.
+Mr. Marsh credited a societal thought process, not a trend. 'Carl Jung calls it the collective unconscious,' he said.
+Mr. Von Broock, coincidentally, shared a taxi with an owner of Industry on Sunday, after dinner at Butter, but was also unaware in planning Chateau that the Swiss hills were alive with the sound of New York night-life entrepreneurs.
+'It's funny how it popped up,' he said. 'None of us knew. Glass and chrome got so boring -- like couches and drapes before them. It's very flashy, but truthfully, when you walk in, if it's not full, it looks empty. The trendy people move on.'
+AT Butter, which opened last week at 415 Lafayette Street (East Fourth Street), a vaulted ceiling of red cedar veneer in the main dining room creates the same type of cathedral that tall trees would. On the back wall is a photographic blowup of a birch forest. Two sips on a cocktail at the bar and you start listening for birds. Four sips later you start praying for snow.
+'It's slightly escapist,' said Andrew Phillips, the architect who designed it. 'Maybe it's a cabin. I'm not a fan of the narrative going too far.' Mr. Phillips said that the planed cedar that runs from the entrance to the dining room -- the world's longest sauna -- produces a 'great view' at the end, like walking outdoors.
+'I associate it with freshness and lightness and youth,' he said. Gorp martinis might be an idea to work with too.
+Downstairs, the lounge is dark, tight and bark.
+Birch timbers, boiled on the split side to prevent cracking or decay, cover the walls like a logjam. The ceiling is lacquered twigs, also birch and 'younger,' Mr. Phillips said. Fireproofing killed the bugs, he added.
+In discussing his design, Mr. Phillips mentioned Mr. Zumthor, the Swiss architect and cabinetmaker, who is a newly mythic figure in contemporary architecture. Mr. Zumthor is a master of the refined use of rustic wood in modern building.
+'It's not so much the material used as making a universe of material,' Mr. Phillips said of Mr. Zumthor's genius. 'By taking wood to the nth degree, you produce an amazing richness.'
+Woodman, spare that 8 o'clock table.
+DESIGN NOTEBOOK"
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+IN her 1923 classic book, 'Etiquette,' Emily Post observed that 'older people invariably feel that the younger generation is speeding swiftly on the road to perdition.'
+And so it is with stamps. Last week, the first domestic image on an American stamp was unveiled, heralding Mrs. Post's 'Etiquette.' The stamp -- of a 1920's place-setting with Lafayette Towle silver, a goblet and hand-painted Copeland Spode china -- is elegant and extremely proper (note the archaically correct placement of the salad fork, prongs up, next to the plate). But beneath that white damask tablecloth lurks a radical shift in the design and subject matter of these miniature snippets of everyday Americana.
+In the not-so-recent past, 'Etiquette' would have been depicted by -- in the words of Terry McCaffrey, the senior art director at the United States Postal Service -- a 'dead head,' a sober engraving of Emily Post's profile, not a stylish photograph worthy of a shelter magazine.
+But today, in part to lure a generation for whom E-mail is mail, and facing competition with everything from faxes to the Internet, the Postal Service is looking to produce stamps that sell, pushing the tasteful limits of stamp design. In the process, the agency is becoming ever more populist, designing stamps that are no longer simply the nation's calling cards but adhesive pop icons.
+For the second time (the first was for Elvis), the Postal Service has held a public referendum on stamps. A vote that ended on Sunday, offering figures and trends to represent the 1960's, included Medicare but also the twist, Woodstock, shopping malls and the Ford Mustang. Those worried about the state of the nation will probably not find solace in the returns from a vote on 50's images, with drive-in movies and 'I Love Lucy' the most popular vote getters. President Dwight D. Eisenhower finished 16th, in a futile bid to appear on a United States stamp a ninth time.
+The most conspicuous example of stamps' new look -- dismissed by serious collectors as 'wallpaper' -- may be in Times Square, where a triumphal billboard of the new Tweety and Sylvester stamp hangs from the Warner Brothers Studio Store. At the recent dedication, Bugs Bunny, who was the first in the Looney Tunes series of stamps and whose initial printing of 300 million sold in one month, passed a mailbag to his speech-impaired successors.
+Visions of envelopes desecrated with Looney Tunes characters have caused many old-guard philatelists -- who still mourn the purple 3-cent monochromes -- to contemplate rash acts with their tongs.
+Local post offices have begun to resemble a Warner Brothers store, filled with Tweety and Sylvester hats, ties and other synergistic souvenirs. (Shoppers, take note: they're cheaper at the post office.) Azeezaly Jaffer, the executive director of stamp services for the Postal Service, says Warner Brothers, like other companies, provides images for the stamps royalty-free, but profits from merchandise are divided in an 'equitable split.'
+Mr. Jaffer, the Postal Service's Louis B. Mayer, added, 'Tweety is going to be important.'
+The very mention of Bugs and Tweety has caused a phlap in the world of philately. As outlined by the Postal Service and the Citizens' Stamp Advisory Committee, which reviews more than 40,000 stamp proposals annually, the official criteria for stamp selection says that stamps will not be issued to 'honor commercial enterprises or products.'
+'Stamps are windows on the soul of the nation,' said Gary Griffith, a columnist for Stamp Collector magazine. 'They ought to be a place of honor, not a marketing gimmick.'
+The new accessibility, in which Wolf Man and the Mummy are now on stamps, is in part a marketing response to the slow, painful demise of American stamp collecting. In past generations, America was a fertile seedbed of philately, a cherished stamp collection under the bed a fixture of childhood. But the future of this now-quaint pastime is in doubt.
+'Our kids today are growing up amidst a technological revolution, a society in which they want and demand immediate gratification,' Mr. Jaffer said. 'Kids today don't go to post offices. Kids tomorrow won't go to post offices.'
+In a sign of how commercial stamps have become, they now have their own lobbying blocks. Like a movie studio campaigning for Oscars, the Ford Motor Company had ballots shipped to 500 Ford dealerships in an effort to secure a stamp for the Mustang, according to Linn's Stamp News, a weekly.
+Commerce aside, there is another force at work. 'Too often, we've been afraid to embrace some of our greatest American figures,' said the historian Douglas Brinkley. 'We somehow think there's something cheap or tawdry about the U.S. Government giving respect to an Elvis, a James Dean or a Marilyn Monroe. Now the Postal Service is wisely looking at the fullness of decades. The 1920's was not just about Calvin Coolidge, but also Josephine Baker and Langston Hughes.'
+It was also about etiquette. In keeping with the broadening of stamps' graphic appeal, the Emily Post stamp was designed for a visually sophisticated audience. Until five years ago, photography was rarely used as a medium on stamps; today, Mr. McCaffrey said, about 20 percent of American stamps are illustrated with photos. (Children in particular 'like the immediacy and reality of photographs,' he said.) The Post stamp went through many 'image gyrations' -- the art of opening doors was considered briefly -- before a table setting was picked.
+There were some faux pas along the way. Peggy Post, Emily Post's granddaughter-in-law, an adviser on the stamp, noticed that the placement of the salad fork was incorrect for the 20's, so the image was 'digitally flip-flopped,' Mr. McCaffrey said. Now it appears next to the plate, a la 1920's protocol. (A proper fish fork is nowhere to be found.)
+The shift toward user-friendly images, of which the Elvis stamp is still the apogee, began with the Postal Reorganization Act of 1972, which established the United States Postal Service as a quasi-Government agency with no taxpayer support. In the late 1970's the Postal Service, under the aegis of the Citizens' Stamp Advisory Committee, issued its first decorative package: a solid block of butterflies and owls.
+'People went wild,' said Mary Anne Owens, a leading collector, who recently retired from the committee. 'Before then, stamps were primarily historical, mostly anniversaries, depending on who got talking to their Congressman,' she said. 'The post office said, 'Well, this is what the public wants.' '
+Lighthouses, puppies, L VE and Elvis followed (the postal pelvis has had greater retention than any American stamp -- 38 million in its first 1 1/2 years). 'It didn't take them long to realize that revenue from stamps retained and not used was money in the bank,' said Michael Laurence, the editor and publisher of Linn's Stamp News, a weekly, in  Sidney, Ohio. 'That's how Tweety Bird and Sylvester have come to displace George Washington and Abe Lincoln, much to the dismay of old-fogy stamp collectors like myself.'
+Virginia Noelke, a historian and the chairwoman of the citizens' advisory group, said that Looney Tunes and other commercial images raise 'serious questions' but that the Bugs Bunny stamp is 'historically defensible.' Bugs 'is an early bit of Americana,' she said. 'The notion is the greater good -- to get young people back to stamp collecting.'
+Future stamps are likely to contain more colorful and complex images, with a greater emphasis on photography and illustration. Advances in printing will also affect design: last year saw star-shaped perforations and the first American triangle stamps. Controversial subjects, like war, will in all likelihood continue to be treated generically. (A 1994 proposal to depict the 50th anniversary of the bombing of Hiroshima and Nagasaki with a mushroom cloud aroused such furor that it was replaced by the image of Harry S. Truman announcing the war's end.)
+STAMPS continue to be symbols of broad cultural approval, Mr. Brinkley said. 'You won't find too many radical, uneven figures,' he said. 'You'll get Rosa Parks but probably not Stokely Carmichael or Abbie Hoffman. The twist and Barbie dolls were not going to undermine the status quo.' He thinks Bob Dylan will make his way onto a stamp and, if Al Gore becomes President, possibly the Grateful Dead. Think of the joint marketing ventures.
+At the recent Metropolitan Stamp Show in Manhattan, where grown men huddled over lamps with their magnifying glasses, the country's fate seemed to hang in the balance over the question of the future of philately. 'If Tweety is what it takes to interest kids in stamp collecting, absolutely,' said Jeff Fishman, a dealer from Arlington Heights, Ill. 'We're competing with high exciting things like Nintendo and the Internet. But we wouldn't have half the problems we have if kids stayed home and collected stamps.'
+There were signs that Bugs might eventually endear himself to collectors. Recently, an imperfection -- the philatelists' reason for living -- was found on the Bugs sheet. On the decorative half of the pane, a single stamp is inserted next to a blown-up image of Bugs. On some sheets, however, it appears that the Postal Service forgot to perforate that stamp. So much for being cutting edge.
+News of the flawed Bugs has swept swiftly through the beleaguered world of philately. 'It's much rarer than the others,' said Ken Lawrence, a columnist for The American Philatelist, with a twinge of rapture, noting that imperforate Bugses are already selling for about $150 a pane."
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+IT was a time when America was getting used to a new kind of war during peace and daily life was taking on new rhythms and shapes. A sense of fear and tension bubbled beneath an exuberant pop culture.
+Those years -- 1940 to 1960 -- look both different and familiar in 'Vital Forms: American Art and Design in the Atomic Age,' opening tomorrow at the Brooklyn Museum of Art. Americans were trying to come to terms with the bomb and the cold war, an effort reflected in painting, sculpture, architecture, graphic design, furniture and even toys.
+Midcentury design has become as easy to caricature as the court of Louis XIV, from Elvis and Marilyn, tail fins and Stratocaster guitars to Eames chairs, Noguchi tables and the designs that inspired today's 'blobjects' and 'retrofuturism.' But 'Vital Forms' suggests a more three-dimensional era. 'There is optimism and energy,' said Kevin L. Stayton, the chairman of the museum's department of decorative arts and an exhibition curator. 'But there, underneath, something else is going on. You can see the tension.'
+A camouflage poncho on display is an example of wartime functionalism that spilled over into graphic design, its blobs appearing in red and blue on K ration boxes.
+War and peace, function and style: Charles and Ray Eames adapted a technique for bending plywood into splints and made furniture. Tupperware started out as a plastic used by the military. A Navy spring was used to make the Slinky.
+Hula Hoops mimicked the orbits of Sputnik, and the bikini was named for the island where nuclear testing took place. At President Eisenhower's 1953 inauguration, Mamie Eisenhower wore a hat of rippling concentric circles called the Airwave.
+The wasp waist of the New Look was found not only in fashions and Barbie dolls, but also in the Chemex coffeepot and in an Eva Zeisel room divider made with hourglass shapes. In the late 1950's, planes with 'Coke bottle' fuselages passed through the sound barrier. The same silhouette was visible in sports cars like Raymond Loewy's 1961 Studebaker Avanti. 'New Look' took on another meaning when Eisenhower borrowed the name for a defense policy based on massive atomic retaliation. Eero Saarinen's swooping airline terminals in New York and Washington celebrated the romance of world travel, but the darker side of living on the edge of war was suggested by the naming of the Washington airport after John Foster Dulles, the master of brinkmanship.
+One of the most astonishing artifacts in the exhibition is a 1961 Gorham silver coffee set topped with the intersecting orbs of the iconic atom. The set was used aboard a nuclear-powered missile cruiser.
+When the stylized atom's upbeat orbits conflated with the outlines of an amoeba, other blobs were born, traveling into Adolph Gottlieb paintings, Calder mobiles, Formica patterns and motel signs.
+'Vital Forms' is the third in an important series: earlier exhibitions were devoted to the American Renaissance (1876-1917) and the Machine Age in America (1918-1941). Turning from machine imagery toward fluid vital forms, Mr. Stayton writes in the catalog, was 'at least in part a response to the unsettling ambivalence and anxieties of the new age,' when the exuberance of prosperity could be upset at any moment by vague, underlying threats. Even Elvis had to go into the Army.
+Dr. Paul Boyer, a cultural historian who advised the curators, argues in the catalog that the soft blobby shapes and their plastic aesthetic suggested sheer possibility, 'endlessly melting, mutating and flowing into new shapes, or trembling on the verge of total disintegration.' Soaring optimism could quickly diverge to stomach-churning fear.
+The Shmoo, a blobby Al Capp cartoon creature that complaisantly cooked itself up into any dish you wanted, is juxtaposed in the exhibition with similarly shaped Eva Zeisel salt and pepper shakers. The soft shapes of Ms. Zeisel's shakers are usually seen as a turn toward nature.  But Dr. Boyer sees another subtext in their design: uncertainty.
+After Jan. 6, 'Vital Forms' goes to  Minneapolis, Nashville and Phoenix.
+DESIGN NOTEBOOK"
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+FLUNG boldly from West 70th Street into the Hudson River like a great fishing seine, Pier I at Riverside South Park is an ample acre of new public land, slightly longer than the Woolworth Building is tall. But that alone is not why the pier is already drawing visitors, even in the middle of winter, even without ribbon cuttings or signposts.
+Pier I -- as in 'eye' -- is an entirely new way to see the towering palisade skylines of New York and New Jersey and the broad waterway between them, liberated from the shoreline and unconfined by gunwales. This is the privileged vantage of center stream. It is a perspective that comes rarely in pedestrian life; say, when a blizzard allows you to walk down the middle of Broadway or a parade puts you right on the Fifth Avenue median.
+From the pier, 795 feet into the river, out among wheeling gulls and diving ducks, out where the slap of river swells is audible, the George Washington Bridge looks less like a muscular Erector set than a slender, silvery thread drawn through the sky. The elevated Joe DiMaggio Highway undulates like a ribbon, fused almost seamlessly to the roller-coasterlike outline of Pier D to the south, which was twisted by fire into a polymorphous contortion worthy of Frank Gehry. Even the towers of Trump Place momentarily take on Venetian magic, glimpsed as sensuous, rippled reflections in the wake of a passing ship.
+A reconstructed vestige of the old New York Central rail yards, Pier I is to be dedicated in March as part of the first phase of a public park. It is financed by the Trump Organization and Hudson Waterfront Associates, the developers of Trump Place, overlooking the park. Their obligation is tied to the pace of development. Phase 1 of the park, which cost $14 million, corresponds with the completion of the third building at Trump Place, 160 Riverside Boulevard, between 67th and 68th Streets.
+'It is the first tangible evidence that there was some major public benefit tied into the approval of this project,' said Michael W. Bradley, executive director of the Riverside South Planning Corporation. This nonprofit body, which includes the Trump Organization and five civic groups, oversees the design of both the development and the accompanying park.
+Although a formal ceremony is two months away, the Parks Department is already operating the park. It opened the pier last week without fanfare. Neighbors discovered it quickly. The greatest gift of Pier I may be the way it allows New Yorkers to reacquaint themselves with the familiar.
+Manhattanites may marvel at the panoply of development along the New Jersey bank of the Hudson, which seems close enough to touch. Upper West Siders may spot, perhaps for the first time, the stout Italian Renaissance lanterns atop the Art Deco Normandy apartments at Riverside Drive and 86th Street.
+The pier also brings into much higher relief the nobly ruined gantry tower under which freight cars passed, after being ferried across the river, into the skein of railroad yards that once ran along the shoreline from 60th Street to 72nd Street. The yard was part of a freight railroad network, including the elevated High Line viaduct, that the New York Central built along the far West Side.
+Unlike typical piers, which are perpendicular to the shoreline, Pier I and its companions -- B, D, E, F and G and the gantry tower -- extended into the river at a 55-degree angle, offering an easier turning radius from the yards. Pier I was wide enough to accommodate four parallel tracks, and had a spur leading to a roundhouse at the end of West 71st Street.
+In its reconstructed form, the pier has been kept the same length. Its width has been narrowed to an average of 50 to 55 feet, but it has not lost its angle.
+'We tried to uncover the history of the place and in some subtle way celebrate and infuse that in the park experience,' said Thomas Balsley of Thomas Balsley Associates, the landscape architects responsible for the park and pier. (Together with Lee Weintraub, Mr. Balsley also designed Gantry Plaza State Park at the Queens West project in Long Island City, which incorporates the old Long Island Rail Road gantries.)
+Given the spectacular setting on the Hudson River, there seemed little need for architectural ostentation, though Mr. Balsley incorporated several features, playful and thoughtful, that add to the pleasure of an idle promenade. For more purposeful visits, there is even a fish-cleaning table, testament to the improving condition of the Hudson.
+The southern edge of the pier is gently scalloped rather than straight, creating a sense of harmony with the river. Its geometry is further disjointed by an L-shaped jog at the end, which contributes considerably to the feeling of being afloat and cut off from land. That is heightened by the acutely angled intersection of railings at the pier's southwest corner, where Leonardo DiCaprio and Kate Winslet would feel at home.
+Lighting the way along the pier are reflective-disk lampposts by the German manufacturer Bega. Grouped in snug pairs around the lamps are surprisingly comfortable contoured bucket chairs by Erlau, another German concern. The steel mesh and pipes of the seats complement the silvery railings.
+What the pier does not have is planking; not when it would have had to come from Indonesian hardwood plantations. 'That stuff is horribly expensive,' Mr. Balsley said. Instead, the deck is made of precast concrete paving blocks, which lend an incongruous heaviness to an otherwise nearly weightless expanse.
+Hardwood planking was not the only victim of a limited budget. Collaborating with the artist Jody Pinto, Mr. Balsley designed a beacon and spiral staircase for the end of the pier, which would have let visitors go up an extra 15 feet above the water. That has been eliminated.
+So has a sunscreen in midpier made of angled panels meant to recall the wings of Canada geese flying overhead. So has the 'dragonfly tower,' an abstract evocation of the dragonflies found hovering over salt marshes, which was to ornament a small companion pier to the north.
+'These are all candles and icing,' Mr. Balsley said. 'I'm pleased. I'm satisfied. We got the cake. For the most part, the public won't even miss what they never saw.'
+Still to come, at the inland end of the pier and under the elevated highway, is a snack bar. Henry J. Stern, the parks commissioner, said that a request for proposals from potential concessionaires would be issued this spring, after being presented for review by the Upper West Side community board.
+A more controversial plan to moor a floating concession barge alongside Pier I is now in 'choppy waters,' Mr. Stern said, adding: 'Let's see how the park works. Let's see how the snack bar works. One concession at a time.'
+Although the other piers are eventually to be demolished, Mr. Stern said the hope was to stabilize -- though not restore -- the old gantry tower. There are certainly no plans to construct new piers, given the environmental and regulatory hurdles that they would face.
+'To build in the Hudson River is an impossibility,' Donald J. Trump said. 'Part of the beauty of that pier is that you'll never have that again.'
+DESIGN NOTEBOOK"
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+THE advertising agency that urges Apple Computer buyers to 'Think different' is once again on the cusp of an evolution in workplace design.
+Four years ago, Chiat/Day led the charge into the brave new world of 'virtual officing' when its headquarters in Venice, Calif., proved too small for a fast-expanding staff.
+Jay Chiat, one of the company's founders, equipped everyone with a mobile phone, a laptop and a personal locker, and turned a problem into a much vaunted workplace experiment. Now, just shy of the third millennium, TBWA/Chiat/Day, as the agency is now known, has traded virtual communication for the real thing, to combat employees' overwhelmingly negative response. It has just moved into a space in the Playa del Rey section of Los Angeles, where everyone has his own desk and human interaction is key, in a plan that draws from a model as ancient as telecommuting is new: the city.
+The offices, in a vast warehouse designed for 500 employees by Clive Wilkinson Architects, are a microcosmic 'Chiat town' of private and group work spaces and public 'streets' and meeting places that provide for every kind of company activity. Staff members enjoy kaffeeklatsches in a 'Central Park,' mingle on a 'main street' and have a work space they can call home in surrounding 'neighborhoods.'
+This turnabout by the progressive agency reflects a 'phenomenal shift in people's thinking' about the state of the art of the workplace, said Despina Katsikakis, director of DEGW, a London-based international consultancy on workplace design. While virtual officing is by no means dead -- TBWA/ Chiat/Day staff members still carry mobile phones and beepers, and connect by computer -- the latest experiment in breaking free from designs based on the old hierarchical pecking order is what Ms. Katsikakis called 'community-based planning.' It locates staff members in teams (rather than on status-implied floors), offers private spaces and includes clubby meeting areas.
+This approach is now being tried at corporations like Andersen Consulting, in its offices around the world, and at Sun Microsystems in Palo Alto, albeit in a more conservative style than at TBWA/Chiat/Day.
+The agency has always experimented with architecture and the workplace, starting with its move, in 1979, to the venerable Biltmore Hotel in downtown Los Angeles. ('Jay didn't want the firm to lose touch with the consumer,' said Laurie Coots, the chief marketing officer for the company.) That was followed, in the mid-80's, by a move to the bohemian Venice, first to a temporary warehouse space and then to its own building, both landmark designs by Frank O. Gehry.
+Mr. Chiat also had two of Mr. Gehry's fellow superstar architects, Rem Koolhaas and Gaetano Pesce, create, respectively, London and New York offices. In each space, the aim of the architecture was to keep  people stimulated and feeling part of a family, albeit one with a steely drive and a yen for knowing self-promotion. In 1976, the company ran an advertisement in Adweek declaring its pain at losing a Honda account. Now, it is cheerfully revising its thinking about what makes a workplace work.
+The virtual office 'sounded good in theory, but ultimately violated human tenets,' said Lee Clow, the company's chairman. He added, 'People need a sense of place and belonging.' The idea behind the virtual office was that telecommuting would allow people to work anywhere, anytime, and that they would use the outgrown building only for teamwork. As it turned out, most staff members needed or wanted to work under the same roof.
+Current and former employees paint a picture of harried workers fighting over too-few desks, defiantly displaying family photos and trying to stake out personal space in a place planned like a club. 'People felt like they were working in a cocktail party,' Ms. Coots said. The new place blends what the company sees as the best of the previous environments. Yes, TBWA/Chiat/Day staff members still share the airwaves. But now, Ms. Coots said, 'we share the same air.'
+From a vivid yellow exterior gatehouse, visitors enter a large busy industrial-style space -- a playful version of Fritz Lang's Metropolis. Youthful employees buzz about: up and down the mesh stairs and balconies; along the wide 'main street' of stacked 'cliff dwellings,' Hollywood Squares-style, that are home to pairs of art directors and copywriters who work as creative teams; in Central Park, a ficus-lined internal plaza, and on the hallowed basketball court, a symbol of the zest and competitiveness of the firm.
+Scattered around this town center are neighborhoods of project dens: groups of desks enclosed by diaphanous spandex tent structures for privacy and open-plan work areas with freestanding aluminum work stations called Nests (for New Environment for Strategic Tasking), one-legged desks with screens for acoustic and visual privacy. (They are now manufactured by the agency in a co-production with the office furniture giant Steelcase.) The cute name refers to the very nesting instincts that virtual officing had rejected and that are now being increasingly factored into office planning nationwide.
+TBWA/Chiat/Day has rebounded from a bumpy patch in the mid-90's, during which it was sold to a holding company, the Omnicom Group, was merged with TBWA and saw the departure of Jay Chiat, whose demanding, inventive spirit, company members say, lives on in the space and in the work.
+It was unanimously picked as agency of the year for 1997 by the advertising trade magazines, and this year, it scored an Emmy for its Apple Computer campaign, which features arresting images of great achievers, stamped with the slogan 'Think different.'
+But how innovative is the new office? The design merges the high-tech style popular in Europe, typified by Richard Rodgers's and Renzo Piano's Pompidou Center, with the robust warehouse office projects of Mr. Gehry and the late Frank Israel.
+While it may be striking and lively, with its jazzy cliff dwellings, billowing tent structures, flying balconies, exposed plywood partitions and touches of whimsy (like a bar made of surfboards), it doesn't quite break the old pecking order. In following the principles of good town planning, the company has, in fact, introduced hierarchy, albeit of a more accessible kind than the mahogany-paneled corner office of traditional corporate America. Two company principals who once had spaces equal to everyone else's now each have impressive suites overlooking Central Park, and while creative pairs get prominent, private 'cliff dwellings,' most of the rest nest in the open-plan areas.
+And as for staying in touch with the consumer, the new TBWA/Chiat/ Day is an interior world. Viewless, located at the end of a road of industrial buildings and bungalows (near where Dreamworks is due to start construction), the office is currently nowhere near cafes, shoe repairs, stores or pedestrians -- namely, the stuff and stimuli of daily life.
+A former staff member, Rebecca Epstein, now a doctoral student at the school of film and television at the University of California at Los Angeles, said that she found it a somewhat isolating experience. 'Because the light is the same all day long, and you have no sense of time,' she said, 'it's a little like a casino.'
+Even the new artwork is self-reflective: a fish tank from TBWA/ Chiat/Day's Energizer bunny campaign, agency commercials broadcast nonstop on a large screen over the basketball court, sofas upholstered in Levi denim (Levi's jeans is a new client), and a billboard featuring Picasso, one of the Apple 'Think different' personalities.
+The all-seeing, all-knowing nature of the space, with its mezzanines, walkways and glass-fronted cubicles, reminded one visitor of the slightly totalitarian feel of a penitentiary. But an employee who refused to be identified said the new offices are 'like a big playground.' And she likes the fact that they are all on one floor, which, she said, 'invites more interaction.'
+Ironically, Bob Kuperman, the company's president, said that some of the agency's best work was produced in its last space -- cocktail party or not. He cited the 'Think different' campaign, a provocative series of ads extolling television for ABC and the Taco Bell talking chihuahua. 'There's something to be said for the fact that the overcrowding did cause a high level of energy and creative output,' he said. A self-declared advocate of 'friction and upset,' Mr. Kuperman added that 'the company is right on the edge' with its new quarters.
+Meanwhile in New York, the virtual office designed by Gaetano Pesce, however gorgeous, sent some staff members over the edge. Mr. Wilkinson says the agency has moved out of its overcrowded and confusing space into new offices that he is designing. And where is that new workplace? In the former bastion of the advertising elite, the epitome of everything the old Chiat/Day repudiated: Madison Avenue. Think different indeed.
+DESIGN NOTEBOOK"
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+MEET the Personal Pond, a waist-high device that looks like the offspring of a Weber grill and the Starship Enterprise. Glowing with softly colored lights, humming with ethereal sound, it was designed as an inspiration generator for luxury car designers at Lexus, Toyota's premium brand, for whom the theme machine is like an audience with a design psychotherapist.
+The electronic sculpture (formal name, Toyota/Lexus l'Finesse Personal Pond), a one-off, will be displayed for designers working at the company's studios in Japan, France and the United States. It was created by ECCO Design, a New York firm that has also designed blobby toothbrushes for Colgate, sleek cellphones for Virgin and ergonomic office furniture for Herman Miller. The goal, said Eric Chan, president of ECCO Design, is 'to imagine a car that incorporates the mental and physical processes of anticipation, memory and signaling, while also providing the user with luxury and comfort.'
+Toyota, long known for its efficient production, is now trying to cultivate its creative side.
+The Pond is 'a highly conceptual piece to capture the core value of the brand and translate it into a nonautomotive object for inspiration to the automotive designers,' said Shin Sano, a strategist at Calty Design Research Center, Toyota's design studio in Newport Beach, Calif.
+The Personal Pond is interactive -- in a high-tech-Zen sort of way. Two stones, evoking boulders in a rock garden or markers in a game of Go, represent drivers. Users move the rocks to alter sound and light to match different moods (work, say, versus relaxation).
+Hand motions also change the configuration of the system in an intuitive way: wave a palm upward to raise the volume of the sound or music, for example.
+This isn't the automaker's only inspiration machine. Toyota recently called on Karim Rashid to produce an embodiment of 'vibrant clarity,' which he did with a series of 30 blobbish chairs incorporating unusual materials, colors and patterns. Mr. Rashid calls them meta-objects, but others might call them pods.
+The object-pods, Mr. Rashid said, 'represent the schools of influence that shape and reflect contemporary product culture.'
+Both theme machines were commissioned by Hideichi Misono, the senior general manager of the Toyota's Global Design Center, which oversees the Toyota City studio in Japan. They will be on display from May 13 to 15 at the Museum of Arts & Design in Manhattan at www .americancraftmuseum.org.
+These abstract exercises have yet to be reflected in real cars. Pressed for translations, designers at Toyota talked about 'shadow surfacing' and 'beauty of contrast.'
+The only hints of what those noble phrases might mean when rendered in sheet metal are embodied in two concept vehicles, the LF-S, or Lexus Future Sedan, which was shown in Tokyo last October, and the LF-C, or Lexus Future Coupe, unveiled at the New York auto show last month. The sedan, with a BMW-like roofline, was so much like earlier models that it was met with a resounding 'huh?' But the coupe, whose design was directed by Kevin Hunter of Calty, shows an energy in its sweeping roof and fenders that is new for Lexus.
+Last fall, Toyota endowed an annual lecture at the Center for Creative Studies, the Detroit college known for training automobile designers, and Mr. Misono gave the first lecture in January, surprising his audience by criticizing his company. 'We need to have more focus,' Mr. Misono said. 'Lexus must be bold, confident and dynamic, but at the same time unpretentious and sophisticated.'
+He promised to raise Toyota's 'J factor,' the 'Japaneseness' of its cars, even while searching for influences from around the world.
+Toyota, pushing hard to dislodge Ford as No. 2, after General Motors, in total world production, is known for the efficiency of its assembly lines, the quality of its products and its green design innovations. But Toyota's designs have long been considered dull and look-alike.
+The first Toyota, introduced in 1937, took its styling from the Chrysler Airflow. Today European and American designers often say Lexus tends to produce committee-bred approximations of the Mercedes-Benz.
+The company's fresh approach may have been inspired by the revival of Toyota's rival Nissan, whose design is supervised by Shiro Nakamura. The need to redefine Lexus may also turn on the introduction of the Lexus brand in Japan itself next year. (Lexus models are now sold in Japan as Toyotas.)
+But for some longtime observers of auto design, the Pond and the pods recall the Zenlike -- and much-derided -- brand statements that Infiniti began in 1992, when it required its dealers to display a waterfall and a sculpture by Takenobu Igarashi.
+In fact, Mr. Misono's inspiration machines are a pretty abstract way to transcend a reputation for look-alike designs. Finesse, vibrance, clarity -- those are high-flown abstractions. But the processes that made Toyota great are also embodied in some pretty abstract ideas.
+A lot, in other words, can be lost in the translation.
+DESIGN NOTEBOOK"
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+ALL America knows them by now: the clinging chad, the pregnant chad, the trapdoor chad. These tiny defects in the punch card ballot system have focused national attention on the design of voting technology.
+Whatever the final disposition in the courts, the ballot flap has already had powerful effects, drawing our attention to illegible ballots, spoiled ballots and the antiquated nature of our voting technology. The Florida case may be the first in which bad design has been charged with infringing on the constitutional rights of Americans.
+Confusion about the Palm Beach ballot was evident at the polls, and the ballot has been accused of violating legal design specifications. Florida statutes require the printed ballot to allow for a vote mark at the right of the candidate's name and requires that the machine version of the ballot 'shall as nearly as practicable conform to the arrangement of the paper ballot.'
+Theresa LePore, the Palm Beach County supervisor of elections, a Democrat, has said she ordered the type on the ballot enlarged to make it easier for older people to read. The unintended consequence was to force some names into a second column, right of the punch holes. This meant that while the punch holes for some names were to the right, others were to the left.
+The inconsistency of the layout presents a basic problem, said Sylvia Harris, a graphic designer, who worked on the 2000 census form and now teaches at Yale. 'The check box can be to either the right or left, but it has to be consistent,' she said. 'The holes are disembodied from the names. And you never cross the gutter' -- where the punch holes are. 'It's counterintuitive and counterconventional,' she added.
+Alex Isley, another graphic designer, found himself more bemused than appalled by the Palm Beach County ballot.
+'My first reaction was, 'What's all the fuss about?' ' he said. 'It seemed harder to get it wrong than to get it right. It didn't seem they needed a professional graphic designer so much as common sense. Why didn't they just space the names out, for instance?'
+But part of the problem lies with the punch card voting system used in Palm Beach County and by a third of the country, a lingering, century-old technology, long since abandoned by business and by most other branches of government -- the hanging chad of technology.
+The punch card system is also a reminder of how closely our democracy has been linked to technology and its design. The punch card system was invented specifically to carry out the constitutional requirement that we hold a census each decade, which is used to allocate membership in the House of Representatives.
+By the 1880's, adding up census results surpassed human ability. When the founders wrote the consitution, there were about five million Americans; by 1880, there were 10 times as many. Compiling the results of that year's census by hand took seven years.
+Herman Hollerith, who had worked for the Census Bureau and was then in the Patent and Trademark Office, developed the punch card system to total the results of the 1890 census. Although the population had increased to about 60 million, Hollerith's machines finished the 1890 survey in just six weeks and saved the government $5 million. Hollerith based his invention in part on the railroad tickets (called 'punch photographs') that conductors of the time punched with information about passengers. (These registered hair and eye color and other information to prevent passengers from swapping tickets or otherwise cheating the railroad.)
+Hollerith called the census a 'national punch photograph.' He made the cards the size of United States currency, to fit in storage files and other equipment used in banks.
+Soon railroads, department stores and other businesses adopted Hollerith punch cards to track customers and cargoes. In the 1890's, voting machines also began to use the technology. Praised as part of the good government efforts of the time, they soon became common. The evolution of mechanical tabulating systems based on punch cards led to I.B.M.
+Without punch cards, the Social Security system would have been impossible to create in the 1930's. Each citizen was recorded on a card. When the Pennsylvania Turnpike, the first modern toll superhighway, was completed in 1940, I.B.M. punch cards proved the only practical means for regulating tolls according to distances from exit to exit.
+The way to fill out the Hollerith punch cards was at first by a hand punch, a device that looked like one of today's credit card sliders. By the 1950's, typewriter-style keyboards were available to program cards, translating from English into punched holes. Punch cards were the first mode of programming digital computers. ('On the Job: Design and the American Office,' a show opening on Saturday at the National Building Museum in Washington, traces the impact of the punch card system.)
+Punch cards were always the source of potential computer error. The term 'chad' arose in the late 1940's in the labs of newfangled digital computers to refer to punched out bits of paper. Sometimes errant punches only dimpled, making the so-called pregnant chad, which gave William D. Delahunt a primary election victory for a Massachusetts seat in the House in 1996.
+After 20 percent of the ballots apparently turned out blank, a judge ruled that Mr. Delahunt's votes were underrecorded because of mechanical problems, which left bulges but not holes. (The punch card system in the district was replaced.)
+From the earliest days of punch card systems, floating bits of chad caused errors. Cards fed into a machine, or written, out of alignment could set off a chain of mistakes. This was called an 'offset effect' and was passed on like a bad gene to the magnetic readers, the offspring of punch cards, which are used to grade standardized tests. Students taking standardized tests live in terror of offsetting the entries on a College Boards answer sheet; if one answer is entered in the wrong place, all the rest can be wrong.
+A.T.M.'s can also produce offset error, if the buttons don't exactly match the categories on the screen. And it was offset error -- an unclear association between name and matching hole -- that caused the suspected  confusion for Palm Beach County voters.
+Census officials this year introduced an optical system that can read normal handwriting. Such technology would bring immediate improvement to voting, said Ms. Harris, the designer of the census form. But even before voting adopts new hardware, the ballots and labels could be improved.
+Clarity could be increased, Ms. Harris said, not just by enlarging the type, but also by using a clearer typeface, like Congress, a clean sans-serif face with relatively large lower case letters, which Ms. Harris used on the census form. (It is also used in many Yellow Pages telephone directories.)
+'And ballots should be tested,' Ms. Harris said. 'You'll never know whether any ballot or form works until you test it on real people under actual conditions.'
+Charles Costello, director of the democracy program at the Carter Center in Atlanta, helps monitor elections around the world. There are no world standards for ballot design, he said, but there are 'best practice' standards and guidelines for ballots.
+Most of the world, Mr. Costello said, still votes with pen and paper. Sometimes animals and colors are used to indicate candidates in countries with low literacy rates. Election commissions around the world, however, might be surprised at how low- tech the American system remains. 'Talk to anyone around the world who knows computers,' Mr. Costello said, 'and they would say, 'You mean you still use punch cards?' '
+The Florida election, he added, has focused attention on the number of spoiled ballots in American elections. 'For years, we've regarded these as an acceptable margin of error,' he said. 'But technical problems become hugely magnified when the stakes are large and the results close.' The happiest result may be a recognition of how important design is to democracy.
+DESIGN NOTEBOOK"
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+HOW do you create a mall that gives tangible form to an illusion? How do you make it an attraction that draws both the tourists that celebrities wish to avoid and the celebrities that tourists yearn to see? How do you create a theater there that can be queen for one day (for the Academy Awards) and a working girl for the rest of the year?
+These were just some of the many conundrums facing developers and designers of Hollywood and Highland, a mammoth urban entertainment and retail development that will have a new Academy of Motion Picture Arts and Sciences theater as its anchor in March 2001. Ground broke last October on this development, which is being touted as the catalyst for revitalization of one of the most underwhelming destinations in Los Angeles, Hollywood Boulevard.
+Hollywood and Highland is situated above one of Los Angeles's future subway stations at the intersection of Hollywood Boulevard and Highland Avenue, where a fanciful 1932 office tower is already a landmark. This is a stretch of Hollywood Boulevard that has the trademark stars in the pavement and features its most famous landmarks, like Mann's Chinese (formerly Grauman's Chinese) and Egyptian Theaters and Musso & Frank's grill. But there are also the tacky souvenir stores, dusty if venerable old shops (including Frederick's of Hollywood, the Victoria's Secret of the girdle era) and a lingering taint of crime. It is an area that long ago lost its movie studios, saw its movie theaters fall into decline and settled into a less glamorous role as a seedy, eccentric small-town main street, offering just enough illusory promise to lure the tourists.
+Hollywood began a quiet turnaround in recent years, with renovations of some of the old theaters and the opening of trendy bars and restaurants. But Hollywood and Highland seals public and private commitment to downtown Hollywood.  With 1.2 million square feet on eight and a half acres and a cost of $385 million, it promises to be the proverbial 800-pound gorilla.
+Hollywood and Highland is being built by the TrizecHahn Development Company, based in San Diego, and David Malmuth, senior vice president, created the project. When he was vice president of the Disney Company's development unit, Mr. Malmuth oversaw the renovation of the New Amsterdam Theater on 42d Street, and he has vowed to bring to Hollywood Boulevard what he brought to Times Square. His aim is to reaffirm the area as the heart of the entertainment industry, with a home for the Oscars, a multiplex, a hotel, a ballroom (catered, Mr. Malmuth said, by Wolfgang Puck, who may also move Spago there, though neither deal has been signed) and restaurants and shops galore.
+'An authentic bit of Hollywood,' Mr. Malmuth calls it.
+Mr. Malmuth has tried to create a project that meshes the real and mythical Hollywood, a place that memorializes Tinseltown while preserving a pedestrian-friendly network of streets and plazas that can, in his words, 'reinforce the identity of the neighborhood.' To this end, he bypassed the superstar architects, who might have endowed the project with a grand formal vision, in favor of Ehrenkrantz Eckstut & Kuhn, a firm with a solid track record in large, complex urban projects. He also hired the environmental and graphic design team Sussman/Prezja, who become famous with their visuals for the 1984 Los Angeles Olympics. For the theater, he chose David Rockwell, the designer-showman already well-known on the East Coast for the Nobu and Vong restaurants and the new W New York hotel.
+The design emphasizes pedestrian-only streets, plazas and terraces and a mixture of sizes and forms rather than a monolithic building.  Neo-1950's style storefronts will line Hollywood Boulevard: the most explicit theming and gimmicks will be on the inside. These include Babylon Court, a multitiered plaza with big elephant-capped columns modeled after the set of the D. W. Griffith silent epic 'Intolerance,' and a triumphal gate that frames the Hollywood sign, the hillside icon that has helped keep the myth alive.
+The main draw of the complex is of course the Academy's theater, but in order to make it pay its way (the City of Los Angeles has ponied up $90 million to subsidize the theater and pay for underground parking), the developers have had to cram in enormous amounts of highly visible retail space and restaurants.
+The huge 3,500-seat theater has been consigned to the back of the site. Unlike the Chinese and Egyptian theaters, whose edifices arise from a public forecourt, the Academy's theater is behind a building that contains shops and the ballroom. To get to it from Hollywood Boulevard one will have to parade through the shopping arcade.
+Mr. Rockwell is calling this seemingly counter-intuitive move 'an invitation to partake' in a striking processional experience. Just as Hollywood is as much about anticipation as arrival, here the route starts with the sidewalk's 70-plus-foot portals and continues through a series of grand arches.
+For the theater, Mr. Rockwell is planning, in collaboration with Theater Projects Consultants (who also worked on the New Amsterdam Theater), a homage to the glory days of live theater -- to a time when, he said, 'the audience was as much the spectacle as the spectacle.' It is all people-watching boxes and balconies, with cast glass panels and a swirling silver-leaf lattice (called the Tiara) on the ceiling. Not surprisingly, Mr. Rockwell cites Busby Berkeley as one of his inspirations.
+The interior is meant to be as spectacular looking from the stage as toward it, since there are so many shots of the audience during the Academy Awards ceremony.
+Of course, the success of the theater and, by extension, of Hollywood and Highland itself, is predicated on a number of optimistic assumptions. One is that there is an audience for large live spectacles in Los Angeles despite the fact that, as Stephen Leigh Morris, the theater critic of L.A. Weekly, notes, five nearby theaters 'spent the best part of '98 empty.' Another is that the Oscar name will attract shops with the glamour of a Hollywood connection. And most important of all, that this potpourri of Babylonian stage set, arcade, photo-op view of the Hollywood sign and theme stores can live up to the illusion of Hollywood while avoiding the pitfalls of the packaged urbanism it most certainly is.
+Some people are appalled by the project. To Margaret Crawford, a local resident, author and a professor at the Southern California Institute of Architecture, it is nothing more than 'a gargantuan mall that will destroy the urban fabric and suck up all the people.' Norman M. Klein, the author of 'The History of Forgetting: Los Angeles and the Erasure of Memory' (Verso, 1997), sees Hollywood and Highland as 'a monument to a false memory.'
+But for the most part, Hollywood and Highland has what matters most in Hollywood, good buzz. Politicians are squarely behind it, as are many locals. The examples of Times Square and South Beach are invoked.  New businesses, including movie-related production companies, are moving nearby.
+Mr. Klein calls this city-subsidized scheme a monument to 'a new political reality' in which the movie industry dominates Los Angeles. What remains to be seen is whether Hollywood and Highland, the megamall, will dominate Hollywood, the place.
+DESIGN NOTEBOOK"
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+THERE are two kinds of people this time of year: those who deck the halls and those who don't. The deckers normally hold to the belief that red and green and boughs of holly, mangers and eight tiny reindeer are the fitting seasonal images. But this Christmas, large numbers of deckers, departing from the standard repertory, are emulating the red, white and blue Christmas tree at Rockefeller Center and adding patriotism to their displays.
+In the fashion world of holiday home trimming, red, white and blue are the new red and green.
+By Thanksgiving, christmasdepot .com, an online retailer that also operates a 50-year-old ornaments store, Holiday Tree & Trim, in Bayonne, N.J., sold out its entire stock of red, white and blue drape lights.
+The site sold $5,000 worth of wire-framed American flag light displays in November alone, according to Johnathon Schimetz, Tree & Trim's retail manager. He estimated that overall, Christmas light sales were more than 10 percent higher than last year. 'I think there's just a general feeling that people want a spectacular display,' he said. 'It seems a little more important now to make a statement.'
+On the subtler end of the spectrum are four pear trees outside 170 East 88th Street that Edwin Albino, the building superintendent, wrapped in more than 15,000 lights: blue at the trunks, then ribbons of white and red, opening up into the outlines of twinkly, all-white branches.
+'The days after the World Trade Center attacks, people seemed different,' Mr. Albino said, surveying his little electric orchard. 'Now things have slowly gotten back to what they used to be, everybody to themselves. I like to remind people that that special time did exist.'
+Since he put up the lights, Mr. Albino said, more people recognize him in the neighborhood and come by at night to take pictures and introduce themselves.
+'They'd go to work and come back, and I'd still be in the trees,' he said, looking up. 'Now I stand out here, and when people see the lights, they get friendly.'
+Bill Leavey, a carpenter and stay-at-home father in Ossining, N.Y., spent a day building his own bright red, white and blue flag by stapling about 900 lights individually to a 4-by-7-foot sheet of plywood. He hung it on the wall of his garage and then spelled out 'God Bless America' in lights arranged on his roof. Both displays are visible from a nearby highway and have brought fascinated visitors to his door.
+'Some guy stopped and wanted to buy the flag,' Mr. Leavey said. 'My wife said I should have made another one to sell to him, and I said: 'No way. That took me all day.' '
+Because the flag took so much effort, Mr. Leavey expects to hang it again next year. 'I don't think it will be as potent then,' he said. 'At least I hope it won't be.'
+Stringing lights may be a consolation for those staying home. The American Automobile Association estimates that 3.4 million fewer Americans will travel 50 miles or more from home this holiday season than last, a 6 percent decrease.
+'A lot of people want to stay in one place and announce their patriotism,' said Tad Hale, an owner of christmaslightsetc.com, an online retailer in Cumming, Ga. 'We've done quite a bit of business out of New York, where red, white and blue is real strong. That's all anybody's thinking about, the war going on.'
+So much so that the people of the gated community of Christmas Lake Village in Santa Claus, Ind., decided to make their holiday décor patriotic to commemorate Sept. 11.
+Sometimes the Stars and Stripes just aren't enough. Robert Perez of Pearland, Tex., invested $400 in two five-foot flags in waving red, white and blue lights. Each flag is accompanied by four-foot-tall drummer boys ('as big as I could find') with rifles slung over their shoulders. 'It just felt proper and appropriate for this year,' said Mr. Perez, who had previously made do with a miniature Nativity set, Santa, snowmen and a sled arranged around his brick home on a golf course. Disappointed in the slim soldier offerings at local holiday supply shops, Mr. Perez drove 50 miles to seek out a few good men. 'Since I put them all up, my doorbell doesn't stop ringing,' he said.
+Not changing a thing may be the strongest display of resilience of all. In Bay Ridge, Brooklyn, New York's epicenter of ornamental excess, the Polizzotto family has used the same elaborate 'Nutcracker Suite' tableau in its yard for more than a decade.
+It takes a professional crew days to assemble the set, which includes 29-foot-high animatronic toy soldiers and 8-foot-high dancing reindeer, and draws about 150,000 tourists to their block each year.
+'The thought didn't really enter our minds that we should reflect the events of Sept. 11,' said Alfred Polizzotto 3rd. His mother, Florence, agreed. 'We didn't think it would be in good taste,' she said.
+DESIGN NOTEBOOK"
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+IN a strange coda to a decade obsessed with branding, controversy has broken out over a surprising symbol: the Zia sun sign. The symbol -- a circle with lines radiating in four directions -- is one of the best-known images in New Mexico. It is on the state flag and license plates. It appears in the Yellow Pages with about the same frequency as the oversize apple used to promote New York City. And it shows up on everything from dishes and linens to motorcycles and portable toilets.
+The 850-member Zia pueblo, about 35 miles northwest of Albuquerque, has been using the symbol since the year 1200, tribal officials say. And now the pueblo has asked the state, in testimony before a legislative committee, to pay it $74 million for employing without permission what the tribe's elders variously call 'a sacred symbol' and 'the symbol of our collective identity.' The figure represents $1 million for each year the design has appeared on the flag, up to 1999.
+Partly in response to the dispute, the federal Patent and Trademark Office recently issued a report on the status of Native American symbols, in which it acknowledged a problem in trademarking the symbols.
+The issue surfaced two years ago when American Frontier Motorcycle Tours, which runs tours of the state using Harley-Davidson motorcycles, received a trademark incorporating a version of the symbol. Roberta Price, a lawyer for the tribe, protested to the patent office but was told she was too late in the trademark consideration process.
+She was outraged. 'You couldn't imagine Star of David motorcycles or Virgin Mary Porta Pottis, could you?' she asked. Ms. Price and Peter Pino, the tribe's administrator, asked Senator Jeff Bingaman, Democrat of New Mexico, to seek changes in the trademark law.
+Senator Bingaman said: 'Since we do provide legal protection for symbols of other government entities, it's not a difficult argument to say we should do the same with tribes and pueblos. The way things stand today, a municipality that was incorporated yesterday is still guaranteed more legal protection for its symbol than a 100-year-old tribal government.'
+In fall 1998, at Senator Bingaman's behest, Congress ordered the Patent and Trademark Office to begin an investigation of the legal status of Native American tribal symbols. Hearings were held, some with representatives of not only the tribes but also DaimlerChrysler, the maker of the Jeep Cherokee and Mohawk Carpets.
+Ms. Price has tried to have the symbol protected through an amendment to trademark law that would put it and other tribal symbols under the same rules as the symbols of nations, states and municipalities. Such symbols are already protected by law, and trademark applications seeking to use them are rejected.
+While trademarking the symbol itself might be a solution, the tribe does not have the money to fend off any unauthorized users of its symbol, Ms. Price said.
+In its report, the trademark agency recommended no changes in the law but suggested that existing legislation was sufficient to protect tribal symbols. It also recommended drawing up a list of the symbols. The agency does not have the power to choose which symbols would go on the list, the report continued; Native American tribes have special legal status as 'domestic dependent nations.' But the agency said it would regard a tribal resolution as sufficient authorization for a tribe to claim a symbol.
+The report said the agency would maintain a database of such official tribal insignia. In 1994, it said, the agency queried some 500 tribes and groups for such a list, but got only 10 responses.
+If a symbol is put on the list, the agency will have the power to reject applications for similar marks, since it can forbid copyrights that suggest a 'likely false association' -- as for example, a food product that buyers might conclude was produced by the tribe, or anything that implied 'possible disparagement' of a group that owns a symbol.
+The Zia pueblo had hoped for more. 'It is a very George Orwell, bureaucratic document,' Ms. Price said, adding that it didn't commit the agency 'to do anything two or three years hence.'
+'It's understandable that some are disappointed,' said the report's primary author, Eleanor K. Meltzer, a lawyer and adviser to the Patent and Trademark Office. But she argued that the official listing of tribal symbols and the existing law would do the job. While listing did not work well in 1994, she said that this time, 'we are going to take the initiative -- we will make it clear to the tribes that we will do the work and make it as easy as possible for them.' The agency, she said, will not only protect the symbols, but also promote them. 'We are going to be very aggressive in publicizing them among the public,' she said.
+'The tribes have an avenue for asserting their rights through the Indian Arts and Crafts Board of the Bureau of Indian Affairs, part of the Department of the Interior,' Ms. Meltzer said. An earlier draft of the report, she said, placed responsibility for listing with the bureau, but officials of both agencies agreed that the trademark agency had more financial resources available for the job. 'Protecting symbols this way will cost the tribe nothing,' she added.
+Once the list is established, in theory a tribe or another party -- say a coalition supporting Native American rights -- could push for the cancellation of existing trademarks incorporating the Zia sun or other Native American symbols. Trademark cancellation is not uncommon, but none of those who appeared at the trademark hearings pushed for it.
+Mr. Pino, a Zia who has lived all his life at the pueblo and served as assistant war chief and war chief before becoming the tribal administrator, has traced the story of how the symbol became the center of the state flag.
+In 1925, the Daughters of the American Revolution held a contest for a design for the flag. The winner, a Santa Fe physician named Dr. Harry Mera, suggested the sun symbol he had seen on a Zia ceremonial pot in the Museum of Fine Arts in Santa Fe, and the Legislature approved it.
+That pot, Mr. Pino said, had been stolen: only ceremonial pottery was allowed to bear the Zia, and no ceremonial pottery was ever to leave the pueblo. And only the pueblo's elders can give permission for use of the symbol.
+Why did the tribe not object in 1925? 'They were not even citizens,' Ms. Price said. 'They had no power and no money.'
+'Doesn't the pueblo deserve as much protection as the smallest town in North Dakota?' she asked. 'Shouldn't it be given the same security as the 4-H Club or Boy Scouts?'
+Tribal officials don't really expect the state to pony up $74 million for use of the symbol, Mr. Pino said, but they do hope there will at least be a recognition of the tribe's rights, a contract for the state's continued use of the symbol and a symbolic payment. It's probably a little late, however, to do anything about the fact in his last campaign, Gov. Gary E. Johnson substituted the Zia sun for one 'O' in his name.
+DESIGN NOTEBOOK"
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+THE designer Ward Bennett, who died Aug. 13 at 85, was famed for everything from hats to houses. But he remains an enigma. There are no monographs of his oeuvre, and though acclaimed as an American icon, he never became a household word.
+Bennett, a window dresser turned hat maker turned interior designer, could mix seemingly incompatible elements with effortless grace: modern with aboriginal, sleek with rough, restraint with flamboyance; and he felt equally at ease designing furniture, textiles, jewelry or sculpture. At a time when modernism was ripe for revision, and designers were beginning to turn back to tradition, Bennett found new breathing room within the canon. 'Ward influenced the entire design world,' said the designer Joe D'Urso, who started his career as Bennett's assistant.
+Little known, however, are Bennett's houses for his clients. Not the ones he just decorated but the handful he designed from the ground up, in which he brought all his talents to bear in a single expression. 'You look out from any angle and it's uplifting,' said Jann Wenner, the publisher of Rolling Stone, referring to a 1968 Bennett house in Amagansett, N.Y., that he purchased in 1991 and remodeled with his now-estranged wife, Jane.
+Ms. Wenner, who lives in the house with the couple's three sons, said she consulted with Bennett before the work. 'Originally I wanted to do a minor renovation, like adding a bathroom,' she said. One thing led to another and what began as minor alterations turned into one of the more intriguing collaborations in American design: a mature designer of 74 working with his younger self, more than 20 years after the fact.
+Bennett had already made his mark on the modern design movement when the Wenners were just babes. 'The culture has absorbed his ideas, and many people don't even realize it,' Mr. D'Urso said this week. In the 1950's, Bennett reduced rooms to Zen-minimum basics with built-in furniture and conversation pits.
+In 1963 he produced an admired collection of pared-down furniture, manufactured by Brickel/Eppinger. Much of it had been created for Chase Manhattan Bank and Crown Zellerbach, but the spare designs -- among them the Sled chair, whose woven-cane seat was cradled in a crisscrossing steel frame -- worked equally well in modern houses.
+Bennett also paid tribute to that icon of modern architecture, the I-beam, in a series of tables with steel bases sheathed in walnut veneer, aluminum, even snakeskin, and topped with slabs of marble or glass.
+The juxtaposition of organic materials and industrial rigor was as innovative as a 1969 project for Marella and Gianni Agnelli, then the president of Fiat. In the couple's Rome residence, he used rope hammocks and rough coco matting, according to an article in The New York Times in 1975. The project was a group effort by Bennett, the architect Philip Johnson and Piero Manzù, a Fiat industrial designer.
+Though he inspired many other designers, Bennett never associated himself with a school or movement. He did create glassware for Tiffany & Company, but 'he never got into a mass-market mentality,' Mr. D'Urso said. 'He wasn't interested. Ward never went to school but he traveled all his life, and that was the source of his inspiration.'
+Bennett, a precocious talent, dropped out of school at 13 and was sent to Paris at 16 by a New York dress manufacturer to study the couture collections. He told The New York Times in 1962 that he was a sponge, absorbing influences and lessons from 'fashion, display, theater, music and couture.' That breadth of interests resulted in a diversity of creations, from jewelry that earned a solo show at the Museum of Modern Art to sculptures exhibited at the Whitney Museum of Art.
+An early architecture project was a house built in 1964 in Southampton, N.Y., for Marvin Sugarman, a producer of sports events. Here Bennett played with elementary geometric shapes executed in massive slabs of concrete, following the Mexican modernist architect Luis Barragán, but leached of all tropical color.
+The living areas of the Sugarman house were raised high because of the possibility of flooding and to gain better ocean views. The windows were made of teak, as was the exterior staircase, its treads projecting from an angled wall without railings or supports.
+The house the Wenners bought was built for Hale Allen, a stockbroker. Mr. Allen met Bennett at a dinner party in the Hamptons and commissioned him to design a summer home. 'I always thought of him as a hard-edged romantic,' said Mr. Allen, who now lives in California. 'I had seen a model of the Sugarman house before it was built and thought it was exciting, very modern and romantic at the same time.'
+Made of monolithic slabs of reinforced concrete coated with smooth sandy-colored stucco and arranged like overscaled Froebel building blocks, the Allen/Wenner house on Further Lane is a heroic gesture. At the center of the structure is a glassed-in living room that hovers in the air, overlooking the sea. 'He was bent on making a sculpture that held rooms,' Mr. Allen said. 'A sculpture that would blend in with the dunes.'
+For the interiors, Bennett chose industrial pieces like a hospital dolly for a drinks table and an unusual table he designed for the kitchen that could be used for both eating and working. The round top was made from thick maple, five feet in diameter, and could be raised on a hydraulic lift anchored into the floor. 'He was a perfectionist,' Mr. Allen said, recalling how Bennett insisted that the ceiling lights shine only on the walls and not illuminate any part of the ceiling or floor.
+Unfortunately, the flat roofs leaked badly. 'Ward was a designer, not an architect,' Mr. Allen said.
+After its purchase by the Wenners, Bennett opened up the house, adding terraces and installing more windows. He built a pool house to match the austerity of the main house and planted a dramatic allée of arborvitae that cuts across the property from the entrance to the dunes.
+Inside the house are exotic touches more decorative than Bennett's reputation for high-tech minimalism might indicate: an antique Indian fountain for the courtyard; a 16th-century Flemish chandelier for the double-height living room; a screen with scenes of a Napoleonic journey. 'He loved exquisite details,' Mr. Wenner said. 'He would say, 'If you find something beautiful, just buy it!' and then figure out later where it goes.'
+When Ms. Wenner went on a trip to Bangkok, Bennett advised her to buy bolts of the saffron-yellow cloth worn by Thai monks. He later combined them with Mongolian lamb's wool for bedcovers.
+Bennett began work on his own house in nearby Springs in the early 1970's and made changes and additions over the next 25 years. 'It was a small house but it had a sweeping kind of presence,' Jack Lenor Larsen, the textile designer, said. 'Ward knew how to use materials in an honest way that expressed the structure.'
+The original house, overlooking Accabonac Harbor, was a mathematically elegant pavilion that Bennett compared to a Japanese temple. It measured 40 by 40 feet, and was crowned at its center by a 20-by-20-foot skylight. Each corner of the house corresponded to the points of the compass. On the water side of the living area, a pair of giant pivoting redwood walls 10 feet wide opened into the house, creating niches on either side for dining and overnight guests.
+An aging Bennett, who spent his last years in a nursing home in Key West, Fla., had urged the town of East Hampton to preserve his home as a cultural center. The house and its 26 acres of wetlands were sold last year for $2 million to Andrew E. Sabin, president of the Sabin Metal Corporation. He later submitted a proposal to subdivide the property, but after local controversy withdrew the plan.
+Because no books or comprehensive catalogs document Bennett's work, it is not easy to evaluate his eclectic 65-year career. In the end, however, it may have been Bennett's approach to the creative process that left a mark more enduring than any single object.
+'He saw no boundaries and felt he could design everything from a house to a rocket ship,' Mr. D'Urso said. 'He saw himself as a Renaissance man.'
+DESIGN NOTEBOOK"
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+BACK in the 1930's, the running joke among young architects in the office of Richard Neutra, the apostle of modernism, was: 'What is the best material to build a steel house of?'
+Neutra believed steel could advance the cause of mass-produced construction: true modernism demanded industrial materials. But he was obsessed with steel in a low-rise city of wood construction. (When steel wasn't in the budget, he sometimes just painted the wood silver; it was hard to tell, anyhow, in black-and-white photographs.)
+To judge by a new steel-and-glass addition to a just-restored Neutra house in Santa Monica, it's taken about 60 years for technology to catch up with his vision. In 1938, Neutra designed a narrow six-bedroom beach house; though the long building and its bay window echo the body and prow of an ocean liner, the structure itself was conventional: stucco troweled over stud walls.
+In most of Neutra's budgets, technology  was a financial stretch, but today it is an increasingly common means to uncommon ends. For the addition to Neutra's 5,800-square-foot beach house, the Los Angeles architect Steven Ehrlich designed a new structure that is next to not there. Neutra built a solid; technology helped Mr. Ehrlich create a vaulted void.
+Neutra originally designed the house for Albert Lewin, head of the story department at MGM under Irving Thalberg. The staging of the house was cinematic -- drums roll as guests enter through a long, narrow Eden. The curved stairway, which Mr. Ehrlich has refurbished with a sweeping stainless steel handrail, was reason enough for Mae West to buy the house: what suits a living legend most is a curved, flattering white wall. The glamorous staircase faces the flowing spaces of the dining and living rooms, and the sequence climaxes in a semicircular bay front with wraparound windows. The slim property allowed Neutra most of his design opportunities on the beach facade, where the house erupts in the crisp, semicircular bay, a signature form in this classic early Neutra work.
+'The house never suffered the onslaught of a major internal reconfiguration,' Mr. Ehrlich said. 'All the owners kept the original proportions of the rooms and even the materials -- the black linoleum in the kitchen and the yellow and gray opaque glass in the bathrooms.'
+In the 70's, an owner hired the New York architect Charles Gwathmey to update the mechanical systems and add a pool.
+The current owners, a couple in their 40's who entertain frequently, bought the house 10 years ago, but it was not until the empty lot next door became available three years ago that they called on Mr. Ehrlich. They needed space for guests and a family entertainment room where, they said, they could kick off their shoes. The Neutra house also had to be refreshed, and the swimming pool relocated. The challenge was that a long side facade, never intended to be seen, would become a principal feature of the extended property.
+Mr. Ehrlich was self-effacing in the Neutra house: he replicated gutters and rainspouts; he stained the hardwood floors white, setting the furniture afloat. His main task was to add garage space, and guest and staff quarters, while giving the structure a new orientation to the side yard, where the family pavilion would be located.
+Mr. Erhlich's solution at the front of the property was a collage of old and new. By expanding the garage along the street and adding above it a 1,400-square-foot second floor for the guest and staff areas, he deployed the expansion as a tall fence protecting the yard from the high-speed Pacific Coast Highway out front. If overscaled for the fragile dimensions of the original house, the pumped-up extension helps define a large garden, which Mr. Ehrlich -- who has admired indigenous courtyard houses during travels through North and West Africa -- developed into a protected precinct. 'A courtyard helps a house become a retreat,' he said. 'I was giving a primitive idea a modern voice.'
+The L-shaped configuration created an inner sanctum large enough for a freestanding, 1,200-square-foot pavilion that serves as family room, party space and poolside cabana. The house and perimeter walls, a band of privacy around the property, allowed the pavilion to be transparent.
+The addition, connected to the house by a glass tunnel, gives the illusion of opening up to the Neutra building as much as it does to the beach. But by being close to the house, the pavilion actually masks a repetitious facade that is not as interesting as the Neutra myth would have it, a myth the architect cultivated during his lifetime.
+Today, Neutra's long white boat of a building stands next to a pavilion whose design fulfills the vision Neutra didn't always get to build. Mr. Ehrlich updated the steel frame Neutra favored with perforated, sound-absorbent metal ceilings, long stretches of stainless steel cupboards and butted glass planes.
+At the touch of a button, a stainless steel gate in the garden wall rolls back to reveal the beach. Although Neutra would have been fascinated by the new materials and gadgetry, he would have recognized that the new technology gets architecture no closer to his ideal of building for the masses. Early modernism, high-tech and even Neutra himself have become expensive collectibles.
+Inspired by Neutra's bay window, Mr. Ehrlich devised a dynamic roof with a flattened curve poised delicately on a steel frame. The beams -- a reference to a favorite Neutra detail -- stretch like outriggers to columns placed outside the glass walls. The roof acts like a parasol for a room whose real walls are the garden fence. At either end, glass walls slide back, opening the interior to the outside -- as in the most generous Neutra houses, where living room floors blend into carpets of grass.
+The pavilion, the pool and the gate facing the beach align along an axis. From the pavilion, the mind and eye skip like a stone from the pool to the sand to the ocean. 'I'd like to think the pavilion, with the new materials and the evaporating glass walls, takes Neutra's ideas a step further,' Mr. Ehrlich said. 'It's much more minimal than he was ever able to achieve in those days.
+'Just how do you build next to a serious  piece of architecture?' Mr. Ehrlich asked. 'My sense is that you honor the architect and make him proud by doing something new that relates to the original.'"
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+THE pursuit of delight, especially in the garden, has been an architectural commandment since the Roman architect and engineer Vitruvius set down his own Mosaic laws in the first century B.C. (The goals were to include 'commodity, firmness and delight,' he declared.)
+Architecture history is well endowed with pavilions that deliver their occupants to panoramas of nature; designers shaping garden rooms are often hypnotized by the prospect of adding another chapter to this rich tradition. Unencumbered by the functional demands of kitchens, closets and bedrooms, pavilions can be designed without the usual constraints and without the safety net of excuses. Designers do not toss them off lightly.
+Pool houses in suburbia, though, are another matter. Working cousins of the more aloof garden follies -- with their ancestral pedigrees -- these chlorine-perfumed repositories of musty towels, Ping-Pong tables and teen-agers have been overlooked as a serious genre.
+In one backyard in West Hartford, Conn., however, the New York architect David Kriegel elevated the pool house from its status as a common utility structure to a true garden pavilion. A plywood shanty had existed next to the kidney-shaped pool belonging to Joseph and Sonia Gerber. (Mr. Gerber had designed and built the plywood pool house himself.) After demolition, all that remained was a concrete pad and a back retaining wall, both of which would be integrated into a new building.
+Mr. Kriegel offered four designs for the small structure, but Mr. Gerber, an inventor and industrialist who won the National Medal of Technology in 1994 (awarded by President Clinton), had an engineer's sense of economy. He encouraged the architect to use as few elements as possible. 'He was an excellent critic,' Mr. Kriegel said of Mr. Gerber, who died three years ago, shortly after the pool house was built. 'The first designs were complicated, and I stripped elements away until I was left with only what was needed. It was an exercise in reduction.'
+Mr. Kriegel finally drew inspiration from the simplicity of the surrounding garden, whose serpentine stone walls complemented the curves of the pool. 'I wanted to integrate the pool house with the landscaping,' he said. The architect extended the idea of the low garden wall with a spiral of stone that encloses an outdoor shower, open near the ceiling. A few steps away he built two changing cabins, sheathed in redwood. 'Redwood doesn't rot outdoors, and it's dimensionally stable,' Mr. Kriegel said.
+The cabins look very much man-made, in contrast with the naturalistic shower wall. Steel columns carry a carefully designed assembly of redwood beams and rafters, supporting a corrugated fiberglass roof, whose aqua coloring and wavy profile echo the water in the pool. The structure, which is 100 square feet, cost about $30,000.
+The solution was rational. 'That appealed to my clients,' Mr. Kriegel said.
+But the design went beyond the rational. 'I love the contrast in textures,' said Mrs. Gerber, who was trained as an artist. 'I like the openness to the out-of-doors.'
+The lyricism of the spiral and the naturalism of the materials are tempered by a quirky asymmetry: on one side, a single steel column holds a pair of beams, and on the other, a pair of columns supports a single beam. 'It does have a sense of humor,' Mr. Kriegel said.
+The elemental quality of the wood and stone is contradicted by the aqua-colored columns and the translucent fiberglass roof, which tints the interior blue-green. 'I've never done anything this small before,' said Mr. Kriegel, who designed the vast, hyperkinetic Virgin Mega Store in Times Square.
+Small, perhaps, but packed with mixed messages. Nesting against the old retaining wall, and built of stone and natural wood, the pool house recalls Frank Lloyd Wright's simple Usonian houses, odes to democratic building and nature that often intensified the landscape. Mr. Kriegel throws a swerve at the idyllic harmony with the corrugated fiberglass and aqua paint, and with the puckish humor of the columns.
+'Each of the components has a different personality that speaks to the others,' Mr. Kriegel said. The simplicity of the straight-lined structure with the floating roof is also related to Mies van der Rohe's pavilions. But Mr. Kriegel's structure, with its diverse elements, has a complex simplicity.
+An object of contemplation across the pool, the pool house is an object lesson in his practice, influencing his subsequent designs. 'In many ways, it was architecture without interference, without compromises,' he said, 'which is unheard of. The pool house remains one of my favorite projects, as tiny as it is.'
+DESIGN NOTEBOOK"
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+BACK in the 1970's, photomurals of snow-capped mountains, narcotic blue skies and palm trees swaying at sunset were fixtures in wood-paneled rec rooms and roadside bar and grills. Above the foosball tables and corduroy couches, a hyper-real paradise beckoned, made possible by large-scale photo printing.
+Thirty years later, these brilliant nature scenes, printed on wallpaper, are showing up again, this time as incongruous backdrops in restaurants, hotels and clubs. With their Pop Art whimsy and often unsettling enlargements of nature, photomurals are a startling corrective to the poured-concrete floors and blond wood finishes that have dominated restaurant design. 'We've had such restraint and abstraction for so long now,' said Paola Antonelli, curator of architecture and design at the Museum of Modern Art. 'Apparently we want figure back.'
+At Butter (415 Lafayette Street), a restaurant filled with Danish wood furniture, a backlighted mural of a birch forest is the light at the end of a tunnel-like room. 'It's framed like you're looking out of a window, sort of like trompe l'oeil,' said Maria Powell, who was waiting at the bar for her dinner date. 'It has a perfunctory-real quality -- so real that it's abstract and ironic.'
+At Carne (2737 Broadway at 105th Street), a tropical beach scene stands beside white wainscoting and a deer head for a transporting, playful effect. 'We didn't want a cookie-cutter bistro or an overtly streamlined modern lounge,' said Jonathan Roy of Fada, a New York design firm. 'So we mixed it up a bit and threw in pieces and surfaces that are unexpected.' Mr. Roy and his partner, Alex Grossman, bought the murals on eBay for $80.
+Photography, sometimes abstracted beyond recognition, is also showing up in object design. The Paul Smith furniture line introduced at this year's Milan furniture fair includes cabinets with silk-screen photo images of logs and pebbles. At September's Maison et Objet home design show in Paris, the Belgian furniture designer Catherine Beyens (e-mail: animastore@rendezvous .com), offered a cabinet with blown-up nature scenes on vinyl panels. And Ella Doran (www.elladoran.co.uk), the London-based designer, has layered her collection of coasters and place mats with photos of flowers. 'Photographs are much more surreal than anything you can paint,' she said. 'Especially close up.'
+Photomurals can be the décor equivalent of the mai tai, a campy tropical caper. At Bungalow 8 in Chelsea, the architect Rafael Viñoly, and his wife, Diana, a decorator, hired the photographer Lucas Michael to shoot the pool scene at the Beverly Hills Hotel. The murals, printed on vinyl in the style of billboard advertisements, capture the seductive fabrication that passes for reality in Hollywood. 'The idea was to create the illusion of real, which is so L.A.,' Mrs. Viñoly said.
+Photomurals are also appearing as a campy reflection of local landscapes. The walls of the lounge at André Balazs's Standard hotel on Sunset in Los Angeles offer a panoramic view of parched Southern California mountains. When hotel guests reach the top of the spare entry staircase at the Ace Hotel in Seattle, they confront snow-flecked granite peaks rising above the reception desk like an oversize Airstream-era postcard of the nearby Cascade Mountains.
+'The generic boutique design hotel can feel a little soulless,' said Alex Calderwood, an owner. 'We wanted a little imperfection, a little humor and something completely out of context in this crisp white space.'
+Photomurals can do for your home what the Kodak sign did for Grand Central Terminal: add the wow factor. Especially if your rooms lack distinctive architectural features. 'It's a great cheat,' Mr. Grossman said.
+Most paint and wall-covering stores like Janovic (www.janovic.com) in New York and Wallpapers to Go (wallpaperstogo.com), a chain, offer selections of photomurals from Scandecor, Environmental Graphics, Universal Photomural and Ideal Decor. Expect to pay $65 to $120 for a wall-size mural.
+At the Brooklyn antique shop cum restaurant Robin des Bois (195 Smith Street), there are two photomurals, side by side, overlooking a room of Virgin Marys, Vespas and lava lamps. Bernard Decanali, the owner, bought the murals new at Janovic for about $100. 'I've always had this kind of wallpaper in my apartments because it's crazy-looking and has an American 70's look,' he said.
+'Sure, it's ironic, but if you live in the city it gives you a bit of nature.'
+DESIGN NOTEBOOK"
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+'ASK me what I had for dinner last night,' Lisa Versacio said. Without waiting, she shot out the answer: 'French fries and three glasses of Champagne.'
+Ms. Versacio is the senior vice president of West Elm, a home furnishings company that made its debut last week when the first of 675,000 catalogs started dropping into mailboxes across the country. The French fries and Champagne were her way of dealing with the stress of the debut, not to mention the anxiety of two and a half years spent developing stylish items that 20- and 30-something city dwellers can afford.
+Harder still, she is hoping to lure those who might previously have shopped at Ikea, Pier 1 and Target and are ready for a style upgrade. They make up an attractive piece of the market with some money to spend, even if they are not ready to pay $3,000 for a sofa.
+It's a picky segment, too -- one that places a high premium on looks. Moreover, the so-called Gen Xers have resisted many of the marketing overtures that worked so well with their baby boomer elders.
+It's a mind-set that Ms. Versacio knows well. At a photo studio at Chelsea Piers last week, wares from West Elm were piled around her, waiting to be shot for the summer catalog (a total of six catalogs are planned for this year). Ms. Versacio reached out a foot and kicked a platform bed made of dark wood and artfully draped with white sheets.
+'I had been looking forever for a nice solid platform bed that didn't cost $10,000,' she said. 'Of course, my bedroom is very small, so I'm always walking into it and my shins are all bruised -- but the bed looks great. And we all know what's more important, right?'
+West Elm is the latest offshoot of Williams-Sonoma, the San Francisco-based retailer whose other niche businesses include Pottery Barn, Hold Everything and Chambers (a catalog business selling high-end bedding). Ms. Versacio and Williams-Sonoma had kept the catalog-only West Elm venture under wraps. The rumor was that West Elm was going to be a cheaper version of Pottery Barn, which was how it was conceived. But after Ms. Versacio came on board, she convinced her bosses that what they needed was not a cheaper alternative to Pottery Barn, but one that was less San Francisco and more New York City.
+What Williams-Sonoma should have, she argued, was the catalog equivalent of haute urban style, the look that brought in polished concrete floors, stripped-down Zen spaces and sleek, dark wood furniture. Something in the spirit of Christian Liaigre's décor at the Mercer Hotel, Wallpaper magazine, or Calvin Klein Home. Plus, Ms. Versacio said, it should be cheaper than Pottery Barn.
+Ms. Versacio, 41, who grew up just outside New York and went into the fashion industry after high school, was crucial to developing what could be called the anti-Williams-Sonoma look.
+'The Pottery Barn customer is not our customer,' she said firmly. 'Sure, you're going to get what we call dabblers -- the people who will buy one or two things. But the West Elm customer is different.' That person is a fashion-conscious sort, somewhere between 25 and 38, who probably lives in an apartment in the city.
+So while Ms. Versacio may be earning enough to be a Williams-Sonoma customer, she is defiantly more West Elm. 'I don't cook,' she said, 'which is why I live in Manhattan.'
+She fought the company for a year over the name of her unit. Williams-Sonoma initially called it Elm Street, a name she rejected as far too redolent of Freddy Krueger.
+A New Yorker through and through, Ms. Versacio even refused to move to San Francisco to develop West Elm. Instead she commuted for two years between Manhattan and Williams-Sonoma's home office. 'My permanent address was the W Hotel,' Ms. Versacio said. Last fall, she moved the West Elm offices to a renovated loft building in the Dumbo section of Brooklyn.
+The West Elm style, appropriately enough, screams out loft, but since much of the furniture is scaled a bit small, it also says apartment. The furniture tends to the ultrabasic, like a $327 three-sided wood bed frame that can be used either as a twin bed or a sofa, a hardwood and steel kitchen table ($499) or a simple white cotton sofa ($799). Fashion and personality are left to the impulse items and accessories, which include orange midcentury modern glass vases (three for $29), a set of blurry-polka-dot tumblers (four for $19), primitive-style wood bowls ($19 or $24) and armloads of tablecloths, embroidered sheets and linen gauze curtains. All of West Elm's merchandise is designed and developed in-house and made in various parts of the world.
+Williams-Sonoma, which announced a stock split and a higher earnings forecast last Wednesday, is eager to promote West End, according to Dana Telsey, a retail analyst at Bear, Stearns. 'No one has been able to target this audience with a real brand identity, and Williams-Sonoma is such a terrific brand creator,' Ms. Telsey said. 'They're really in touch with their customers.'
+Ms. Telsey remembers when Crate & Barrel was trying to corner the Gen X market two years ago with a CB2 store in Chicago. It got mixed reviews, and only now, after giving CB2 a drastic overhaul, is Crate & Barrel seriously considering expanding the concept to other cities.
+Ms. Versacio said she thought CB2 made the mistake of extending the MTV ideal beyond the television set instead of treating their intended customers as adults. 'I hopped on a plane and went to Chicago when it opened, because I was worried,' she said. 'I remember there was a lot of plastics and a lot of bright colors.'
+Such a simplistic approach to selling to young working people, Ms. Versacio said, 'is a little bit of an insult.'
+She tried hard not to make the same mistake with West Elm, and with most of the East Coast's catalogs delivered by yesterday, she said early sales were positive.
+'We ripped through the first month's projections in four days,' Ms. Versacio said.
+Unless yet another change in taste brings a quick end to results like those, maybe Ms. Versacio can have something a little more substantial with her Champagne next time.
+DESIGN NOTEBOOK"
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+IN 1947, so the story goes, Tessie Four Times, a doting grandmother on the Fort Peck Indian Reservation in Brockton, Mont., expressed pride in her grandson's basketball playing by wiping the sweat from his back with a shawl and then casting it onto the gym floor.
+Though she didn't know it then, her small, loving gesture was the origin of the basketball star quilt, now a much-anticipated ritual at reservation high schools. Each basketball season, Sioux and Assiniboine mothers and grandmothers stitch basketballs into their quilts to honor the players' coming of age and the passage of life.
+In this era of the Air Jordan XIII, the spectacle of kaleidoscopic star quilts hanging from gym walls -- reverently sewn gifts to players' families and coaches -- is surprising indeed. (Nike, meet Brockton.) It speaks to the distinctive ceremonial role, little known by outsiders, that quilts play in Native American communities.
+Unlike basketry, pottery and other hallmarks of Native American design, quilting has long been a 'hidden art form,' said Marsha L. MacDowell, the folk-arts curator at the Michigan State University Museum and a curator of 'To Honor and Comfort: Native Quilting Traditions,' an exhibition that runs through Jan. 4 at the National Museum of the American Indian's George Gustav Heye Center in Manhattan.
+The 40 or so quilts on display are testimonies to the spiritual dimension that can imbue cloth and thread. They also challenge stereotypes of just what 'Native American craft' should be. Few scholars, collectors or even tourists have paid much attention to Native American quilts, Ms. MacDowell noted, in part because they have been deemed 'too European,' and therefore, as a Waccamaw-Sioux quilter, Brenda Moore, puts it, not 'an Indian thing.' But Indians are now putting their distinctive spin on quilt design.
+Though Native American textile production is ancient, quilting itself was introduced relatively recently by 19th-century missionaries.
+The rich, ceremonial life of quilts in native communities carries them beyond the simple utilitarian object and gives them special resonance. Simply put, quilts are an intimate part of birth and death.
+'To me, quilting is natural,' said Lula Red Cloud, an Oglala Sioux quilter from the Pine Ridge Reservation in Hermosa, S.D., whose quilts are among those in the museum show. She specializes in star quilts, which have taken the place of traditional robes made from painted buffalo hide. 'It's the artistic way of making things, a cloth on which to transfer our thoughts, ideas and feelings,' she said.
+So personal an expression is the Indian quilt that women prefer to  work alone rather than in groups. 'It's like meditation -- and chatter is distracting,' Ms. Red Cloud said.
+Among the Lakota Sioux, quilts are traditionally used to wrap babies' cradle boards and are draped across the coffin when someone dies. According to Lakota legend, beaded moccasins were thrown into the grave to assist the departed on their journey down the 'spirit road' to the Milky Way. Today, it's the star quilt.
+Among the Hopi, quilts mark the beginning of life. Upon the birth of a baby, infant and mother spend 20 days together in seclusion; then, before dawn on the final morning, female family members, each bearing a quilt, gather together at home for a baby-naming ceremony. They wash and bless the child, say prayers and then the paternal grandmother wraps the infant with a quilt. If many women are present, the baby almost disappears under a mountain of quilts, before being carried to the eastern edge of the village to greet the rising sun.
+At springtime on Nelson Island, about 600 miles east of Anchorage on the Bering Sea, coastal Yupik women, in a rough equivalent of a Tupperware party, celebrate their husband's first bearded seal catch of the season by giving away to other village women strips of cloth, along with store-bought goods. The cloth will reappear at wintertime dances as finished patchwork quilts.
+Because they are so ingrained in everyday life and have not been widely marketed to outsiders, quilts have until recently been taken for granted in native communities. But there are signs they are becoming iconic -- from the Brockton gym quilts to quilt symbols on powwow posters, T-shirts and baseball caps. Jill Hemming, a folklorist who has studied quilting among the Waccamaw-Sioux, observes that Native Americans have begun to embrace quilting, dispensing with 'romantic cliches' of what's Indian.
+Of course, quilting as a phenomenon transcends ethnic and geographic boundaries -- and sometimes combines them. In 23 years of documenting quilts in Michigan and elsewhere, Prof. MacDowell and her husband, Kurt Dewhurst, the director of the Michigan State University Museum, discovered historic Odawa quilts, which combine European applique techniques learned from missionary wives with floral designs clearly inspired by their own distinctive Woodlands Indian beadwork.
+Today many Native American quilters are reconfiguring traditional motifs, turning log cabins into arrowheads or incorporating Hopi cornstalks into Irish chain quilts.
+Caroline Wilson, a Navajo, makes quilts that mirror 19th-century geometric Navajo 'chief' blankets. Margaret Wood, whose background is Navajo and Seminole, merges her identities by blending Seminole patchwork and Navajo designs. She  spices her quilts by adapting decoration from Blackfeet Indian boys' shirts and Mimbres pottery.
+Traditional motifs can have special significance. The star, for instance, used in Amish and German-American quilts, symbolizes the morning star rising, or new life. Many quilts are deeply rooted in a sense of place. The quilts of Harriet Soong of Waimea, Hawaii, are predominantly white and green, because 'it rains all the time,' she said.
+'We were always wet, and so it was always green,' she continued.
+Like their non-native counterparts, many Native American quilters are breaking with tradition, creating quilts that are more like paintings, complete with art's social and political messages. Sheree Bonaparte, known as Peachy, a 41-year-old Akwesasne from Cornwall Island, Ontario, has made two 'Tree of Peace' quilts. They reflect strife on the St. Regis-Akwesasne Reservation in 1990 in which a dispute over whether to allow casino gambling led to indiscriminate gunfire and the deaths of two people. While working, she frequently heard gunfire on the St. Lawrence River.
+Beneath the traditional tree of peace, she stitched two war clubs and an AK-47. 'I was real nervous about doing it,' she said. 'It was almost sacrilegious to mess with a traditional symbol. My heart raced while I stitched. To calm down, I stitched in the three sisters -- corn, beans and squash -- at the base of the tree. They are the sustainers of life for our people.' She describes the quilt as a 'healing process.'
+Ms. Bonaparte, who is pregnant with her 10th child, gathered at the museum in Manhattan one evening recently with some of her quilting cohorts. A sense of kinship enveloped the room. 'How's your baby?' asked Gussie Bento, a quilter from Hawaii.
+'I'm having another one,' said Ms. Bonaparte.
+'What do you do for sore fingers?' a novice asked Ms. Red Cloud.
+'I never use thimbles. Try a Band-Aid,' she replied.
+For these women, a quilt's power to embody the emotions is its enduring gift. Ollie Napesni, an 80-year-old Sioux quilter from St. Francis, S.D., stood beside a quilt panel she made to remember her grandson, who died four years ago at age 30.
+In the quilt, she explained, a figure representing herself sits facing the horizon at the place where her grandson is buried, 'a beautiful place with wild turkeys and prairie dogs and pine trees all around, a good place to rest.'
+For a long time after his death, she said, she couldn't quilt. But a year later, in keeping with Sioux tradition, a ceremony was planned to honor her grandson's memory.
+'I got up at 4 in the morning and quilted, sewing and sewing and sewing, tears in my eyes,' she recalled. 'Some of those tears are on the quilts I made.'
+On Saturday at the National Museum of the American Indian, a family quilting day will be held from noon to 4 P.M., including demonstrations by Native American quilters. The museum is in the Custom House at 1 Bowling Green (State Street and Broadway). For information: (212) 514-3714."
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+Once upon a time, everybody wanted to be in pictures. Now, every able-bodied celebrity or demi-celebrity wants to be in the furniture business.
+Christopher Forbes, the vice chairman of Forbes, the magazine publishing company, was here to introduce furniture, lamps, rugs and bedding from a variety of makers inspired by the domestic trappings of his father, Malcolm S. Forbes, the Tangier-living, Elizabeth Taylor-squiring, Harley-Davidson-riding millionaire, who died in 1990.
+A few blocks away, at Vanguard Furniture, Kathy Ireland -- the Sports Illustrated swimsuit model and 'a modern Renaissance woman' who is 'one of America's most respected women of achievement,' in the words of the company's news release -- conducted tours of a 3,000-square-foot display dedicated to a furniture collection bearing her name. (She already lends her wholesome good looks to a signature clothing line for Kmart, which Women's Wear Daily has declared the seventh-most-popular brand of women's clothing in the country.)
+Elsewhere, Jack Palance, the great B-movie actor, was touting the virtues of Action Lane's reclining leather chairs and sofas. It was one of this furniture season's most inspired pairings: limber upholstered pieces and the septuagenarian actor, who dropped to the stage of the Oscar ceremonies a few years back to execute a flurry of one-handed push-ups like a demonic Jack LaLanne.
+Even the trend forecaster Faith Popcorn, who has long scolded the male-dominated furniture industry for giving short shrift to its largely female consumers, put her money where her mouth is: her own home office collection for Hooker Furniture designed to appeal to women.
+'Business is just real good right now,' said Jerry Epperson, a financial analyst with Mann Armistead & Epperson, an investment banking firm. The combination of a strong economy and the steady march of baby boomers toward midlife affluence was projected by the American Furniture Manufacturers Association to bump consumer demand for furniture to $61.1 billion in 1999, an increase of 5.5 percent over 1998. With 2,400 exhibitors and eight million square feet of showroom space -- and another million square feet to be added in the next six months -- the twice-a-year International Home Furnishing Market is the biggest wholesale furniture market in the world. It opened last Thursday and runs through tomorrow.
+The mood in the opening days of the market was as buoyant as Mr. Forbes's on-site accessory, a Faberge-egg-shaped hot-air balloon that bobbed in the sky above a weedy vacant lot where Mr. Forbes made his presentation (bejeweled Faberge eggs were one of his father's passions). After years of grumbling about sluggish sales and thin margins, manufacturers were worrying about meeting demand. Few of them were rocking the boat with startling new products, however, preferring to concentrate instead on what was already selling. 'There's more merchandise being deleted than being added,' Mr. Epperson said. 'Why change?'
+Showroom building corridors were filled not just with furniture buyers, but with buyers from office supply stores, home improvement stores and home electronics stores as well. (In one odd-couple matchup, Bose, the maker of high-end audio equipment, will start carrying Mitchell Gold furniture in some of its mall stores this fall.) Catalogue companies like Pottery Barn and Crate and Barrel were given credit for rehabbing furniture's dowdy image among consumers.
+'All of a sudden there started being all this good stuff available through catalogues,' said Thomas O'Brien, 38, a cofounder of the hip SoHo design firm Aero Studios, who was introducing a resolutely modern-minded collection for Hickory Chair, for 99 years a bastion of traditionalism. Mount Vernon reproductions, Mark Hampton historicism.
+In general, two nearly antithetical style directions vied for attention, sometimes side by side in the same showroom. On the one hand, sophisticated retro-modern design continued to gain strength, and dark woods, especially mahogany, had all but displaced the light birch and ash of just a couple of markets ago.
+Mr. O'Brien's vision for the millennium is sleekly elegant eclecticism with a gentle Mixmaster edge: a bit of 1940's Chinese here, some embossed velvet there, a slipper chair with an exaggerated towering back, a seriously scholastic scroll-arm chair based on a Greek Revival original that Mr. O'Brien has owned since he was in college. Even Stanley Furniture got into the modernist act. Its Reflections of the 20th Century collection was similar in feeling to Mr. O'Brien's serene chic -- but priced to reach the midmarket consumer rather than Hickory Chair's typical posse of well-heeled suburbanites.
+The prevalence of clean lines, tight upholstery, exposed legs, sexy little ottomans and silvery hardware at almost every price level proved that modern design had lost its shock value. Or just maybe, the American consumer, though still in love with tradition, has begun to accept the obvious -- that it is 1999, not 1799.
+The entire second floor of Mitchell Gold's cobalt-blue headquarters, once the epicenter of the slouchy slipcover look, was devoted to severe tailoring. 'I wouldn't make them if they didn't sell,' said Mr. Gold, the president of the company, whose stylish upholstery is a staple at Crate and Barrel and other outlets.
+Other introductions, however, took a distinctly baroque route. Thomasville's Bellasera, Stanley's Coronation, Lexington's California Legacy, and Bernhardt's Coronado were Euro inspired and heavily ornamented, combining metal, stone and glass with light woods and painted finishes. The pieces were also scaled to behemoth proportions, aimed at consumers with bodacious suburban homes to fill and a weakness for flashy effects. It could have been called 'Married to the Mob.'
+Despite Ms. Ireland's pronouncement that she was 'making it safe for people to take risks,' she gamely trotted out furniture that was neither controversial nor new: a bun-foot damask sofa, a whitewashed side table with barley-twist legs and nonthreatening rattan dining chairs.
+By contrast, Baker's Continental Collection was a quietly elegant treat. Culled from surprisingly diverse sources -- Baltic manor houses, anyone? -- the 16th-, 17th- and 18th-century designs proved that clean, crisp design knows no era. The Biedermeier-style center table, for example, could be pure Eames.
+The most notable Euro-style holdout was Lane Furniture, which introduced Colonial Williamsburg designs. But the introduction had more to do with marketing savvy than a devotion to history. In making the move from Baker, which had been licensed to produce high-priced reproductions for a small and rarefied market, to Lane, whose new 'interpretative' pieces are priced to appeal to a much larger audience, Colonial Williamsburg joined a mainstream trend: aggressive licensing.
+In an industry notably short on household-word brands, an increasing number of companies hoped that a borrowed name -- whether of a museum, a designer or simply a celebrity, even a dead one, like Thomasville's Ernest Hemingway range, released last spring to consumer acclaim and critical drubbing -- would help create instant recognition. 'Branded furniture stores such as Ethan Allen are doing very well,' Mr. Epperson said. 'It's logical that brands would become more important in the future.'
+If so, the industry will have to grapple with another challenge: how to sell brand names over the Internet. In an industry traditionally fiercely protective of sales territories, the Internet's borderless markets are both attractive and threatening. Nonetheless, a growing number of furniture companies gingerly crossed the line between E-information and E-commerce.
+Directions, a Georgia-based manufacturer of contemporary upholstered and occasional furniture, maintains its own Web sit and is selling selected products through an E-retailer called Living.com. 'If we're going to jump into it, this is the time to jump into it,' said Al Lewinger, president of Directions. 'We're ready.'
+Although on-line retailing still accounts for less than 1 percent of all furniture sales, representatives of Internet companies set up tables and monitors in every available space.
+'The furniture industry is highly fragmented and a little primitive,' said Linda Lewi, vice president of marketing for Home Portfolio, a Web site (www.homeportfolio.com) that offers access to a wide range of home products, from kitchen appliances to paint. 'But there's a vortex of energy out there right now. Something's happening in furniture.'  DESIGN NOTEBOOK"
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+DURING every Olympics, in a tradition as hallowed as the torch, viewers encounter a new set of pictograms: that menu of symbols representing the events of the Games. These abstract figures are meant to be legible to athletes and fans of any nation -- a visual Esperanto.
+No United Nations committee tracks user irritation, but almost everyone these days seems to harbor a festering resentment toward one symbol or another. If these symbols are so universal, why do they need to be reinvented every four years?
+In fact, universality is no longer the ambition of Olympic designers; reflecting local geography is. 'Each Olympics gets a new set of pictograms,' said Paul Saunders of Saunders Creative, the pictogram designer for the Sydney Olympics, 'because, abstract as they are, they are supposed to reflect the Olympic location.'
+'Communicate globally, but stylize locally' is his method. So he substitutes a stylized boomerang -- the logo for the down-under games -- for any generic representation of the human torso. That some of the iconographic athletes appear to be wearing harem pants is a minor distraction.
+'Designing these icons has become something like the Olympics of graphic design,' said Tucker Viemeister, an industrial designer.
+On signs, computer screens, phones and instrument panels, baffling glyphs and symbols are increasingly irritating facts of daily life. The little shape on my cell phone's screen looks like a martini glass, but it signifies signal strength. What appears to be a cartoon hair dryer on my dashboard is supposed to be an internationally recognized symbol for traction control. When the singer Prince not long ago abandoned his glyph and reverted to the alphabetic version of his name, I took hope that other symbols, icons and pictograms might disappear as well. From such overused elements as the @ in e-mail addresses to the constantly changing meaning of the # sign on the telephone, visual symbols have become so abstract they no longer make sense.
+Gavin Ivester, a Nike designer who once worked on prototype symbols for Apple's Newton computer, likes to refer to the buttons that regulate the seat heaters in his old BMW: a single wavy arrow means 'low' while three wavy arrows mean 'high.' 'It's been a joke in this car,' he said. 'Do you want one snake back there or three?'
+Some symbols have different meanings in different contexts. An icon on a photocopier that looks like a pile of cannonballs signals insufficient toner. On a road map, it is a standard symbol for historical ruins.
+Edward Tenner, the author of 'Why Things Bite Back: Technology and the Revenge of Unintended Consequences' (A. A. Knopf, 1996), terms the drive for global visual symbols 'glyphomania.'
+'The great force behind glyphomania is not efficiency but idealism, the search for a transcultural language,' he said. 'The global triumph of English makes this quest less functionally necessary but more diplomatically desirable.'
+Idealism also inspired the designers at Xerox who created the first graphics for computers in the 1970's. They believed that icons were intuitive and thus easy to master. But increasingly, the global economy is highlighting local differences. For example, in China, a red traffic light means go.
+Like Esperanto, the ideal of international iconism has come to seem quaint, and the footless, handless figures marking restrooms and street  crossings seem like relics of the 1960's. Mr. Viemeister notes that young designers regularly parody such symbols on everything from skateboards to CD cases.
+In the Egypt of the pharaohs, Semitic scribes (think Moses) became fed up with the increasingly cumbersome hieroglyphs of the high priests. So they turned to an informal new kind of writing that became the forerunner of the phonetic alphabet. That system served civilization so well that it lasted thousands of years.
+It has taken us only a few years of playing with new glyphs to suspect that the scribes might have been right after all.
+DESIGN NOTEBOOK  Correction:  October 5, 2000, Thursday  The Design Notebook column last Thursday, about annoyance over cryptic Olympic pictograms and other icons, misstated the meaning of a red traffic light in China. It means stop. During the Cultural Revolution 30 years ago, an effort was made to change the meaning to 'go,' but the idea did not take hold."
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+WHEN he burst onto the London fashion scene in the 1970's, the Japanese designer Gnyuki Torimaru -- Yuki, as he is known professionally -- acquired a reputation for elegant simplicity: evening gowns that hugged the body like poured silk, and jackets and cat suits that wrapped around their subjects seamlessly.
+But not so in his red brick Victorian town house, where his proclivity for bare walls and uncluttered hallways was overruled by the fussier style of his companion, Desmond Morris, a former tennis star whose tastes ran to Minton majolica rabbit comports and 19th-century satinwood card tables.
+When Mr. Morris died six years ago at the age of 85, Mr. Torimaru decided to sell the furniture, antiques and bric-a-brac collected over a lifetime, tear down what had been their home and build the house he had always yearned for: a monastic cube designed by the minimalist architect John Pawson. Dreweatt Neate of London is to auction the entire contents of the house on Wednesday. (Bids can be made by phone, 011-44-1-635-553-553; fax, 011-44-1-635-553-599; or www.auctions.dreweatt-neate.co.uk.; condition reports can be requested by e-mail: fineart@dreweatt-neate.co.uk.)
+The only thing not for sale is Mr. Torimaru's dog, an Afghan hound. The 531 items include a George IV giltwood convex mirror (estimated value, $3,800 to $4,600), an early 20th-century six-branch cut-glass chandelier ($775 to $1,000), a set of four dining chairs by Yuki ($470 to $780) and a porcelain cupid clock ($620 to $935).
+Also for sale is a collection of Yuki's designs, including a midnight blue pleated evening dress ($380 to $540) and matching handbag ($230 to $310) that Diana, Princess of Wales, tried on but did not buy. Mr. Torimaru will custom-design a dress for the highest bidder.
+The proceeds from four items -- the midnight blue dress and bag, the custom-designed dress and a copy of a limited edition book of Mr. Torimaru's work -- will be donated to the Diana, Princess of Wales, Memorial Fund. The rest of the proceeds will go to Mr. Torimaru.
+Demolition of the structure, dating to the 1860's, is to start in early November, part of a three-year project expected to cost more than $2.3 million. The plan pitted Mr. Torimaru, 65, against the local planning board, which has expressed alarm at the prospect of a modern structure infringing on its red-brick, white-columned corner of Chelsea. Mr. Pawson had to modify his design to win the board's approval. Still, Mr. Torimaru, who has relocated to a mews house near Victoria Station, said the process had been liberating. 'It's almost like detoxing your body,' he said. 'I'd like to cleanse my life. Not that I had unpleasant memories. On the contrary, I had a very happy life. But life is never constant. It's moving all the time. And you can't hold on to something that is constantly moving. You have to go forward.'
+Mr. Torimaru arrived in London from Japan in the mid-1960's and worked for Pierre Cardin before opening his own shop in 1972 in Harvey Nichols, the fashionable department store. He was known for loose, flowing garments, often topped by turbans. Mr. Torimaru said his approach to design was to start with an idea and see what he could strip away to arrive at the bare essence of a concept. 'He was minimalist before anyone thought about minimalism,' said Meredith Etherington-Smith, who was the London correspondent for the French edition of Vogue in the 1970's and is now the editor of Art Review.
+His clients included Twiggy, Farrah Fawcett and the Princess of Wales, for whom he designed a royal blue pleated dress that she wore to a banquet given by Emperor Hirohito during her 1986 state visit to Japan.
+In contrast to the more elaborate tastes of his partner, Mr. Torimaru said he secretly longed for a monastic existence and craved the unrelenting white spaces Mr. Pawson is known for. 'A bare house and bare walls to me are much more inspiring than having some painting or sculpture in front of me, because that would disturb my imagination,' he said.
+Mr. Pawson's initial design called for a facade of alternating yellow and glass bricks stacked vertically, but it did not receive the approval of the local planning commission. Mr. Pawson was forced to eliminate the glass bricks and use a more traditional zigzag style.
+The interior will be all Pawson. Each of the four floors will be treated as one giant room dedicated to a specific purpose: the basement for cooking, the ground floor for receiving guests, the first floor for a guest bedroom and the second floor for the master bedroom. Gone will be the bright red walls of the dining room, the midnight blue of the study and the birds, foliage and bamboo that Mr. Torimaru painted by hand in Japanese style on wallpaper in the entryway.
+Aside from those personal touches, Mr. Torimaru said, the house had a resident ghost who used to traipse up and down the stairs. Mr. Torimaru said the former model Marie Helvin once saw what she thought was a ghost dressed in military uniform standing by the fireplace.
+Mr. Torimaru said he tried not to dwell on the objects he was selling or the memories associated with them. 'I don't want people to think that I'm a heartless person,' he said. 'On the contrary, I'm very sentimental about people, but never about things.'
+Once his new home is built (he plans to move in by Christmas 2003), Mr. Torimaru said, he hopes to embark on a new profession, possibly oil painting. 'Sometimes,' he said, 'it's good to completely throw your past away and start something new.'
+DESIGN NOTEBOOK"
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+YOU'VE read the same exciting story about design for years. As it goes, corporate America recognizes design as a point of difference, a sales edge, an emotional connection to buyers.
+And buyers recognize design as fashion, coolness, lifestyle.
+'The big D,' as Bruce Claxton, a designer, called it.
+Companies like Apple Computer exemplified both sides of the thinking. With a series of highly design-conscious introductions like the candy-colored iMac and the milk-white iBook -- products with looks that had the hummability of pop songs -- Apple set itself apart. And consumers responded as a cult, which grew, culminating in the iPod, the personal music player, which quadrupled the company's first-quarter profit this year and increased Apple's revenue by 74 percent.
+But the design excitement last week in Apple's latest introductions, the Mac Mini and iPod Shuffle, was not in the Mini's small simple box or the Shuffle's stick-of-gum wand. It was in the prices: $499 and $99.
+In a conversation on Monday, Jonathan Ive, the company's vice president for industrial design, described Apple's newest generation of designs less by how they look than what he termed 'a whole new level of access to the product.'
+This was not Apple's traditional design card, played at a premium for its core audience, a group that an editorial in The Times on Jan. 13 about Apple's move toward the mainstream called 'the lonely elite' (a phrase that despite the media buzz still adequately describes most of the interest in design).
+The important feature of Apple's new designs was the price, not design as something you could not live without but, paradoxically, design as something you might finally be able to live with. Does design, too, have to think different now? As Apple reaches for a mass market, as yet out of hand, is it dropping the ball on design?
+'The most affordable Mac ever,' Apple.com, the company's online store, announced. And the iPod Shuffle was pictured next to a package of bubble gum, as though to suggest that at $99 you could stuff it into your mouth and chew it for a while, then spit it out when it lost its flavor.
+Eric Chan, the founder and president of Ecco Design, whose clients include Best Buy and Toyota, said: 'Design has become a commodity now, and the price has to come down. Even the Chinese are shipping us pretty reasonable design.' On the ability of design to command a premium or drive a business, Mr. Chan added: 'Coolness is overhyped. Apple was smart enough to do the high end first and then come down to this and connect both points. The new economy won't make money from the rich. Look at IM messages. It's a huge market on nickels and dimes on every minute.'
+Tucker Viemeister, a designer and the president of Springtime USA, whose clients include Volkswagen and Heineken Breweries, concurred.
+'Price trumps design every day of the week,' he said. Mr. Viemeister cited an observation of Tocqueville, whom he is reading. 'Americans care more about function than looks. This is not a new situation.'
+Mr. Chan commissioned a survey of 200 people to learn what consumers identify with in a purchase.
+'The fashion end is getting less important,' he explained. 'People want the feel-good end: ecology or comfort or genuine use.' Mr. Chan said that businesses like Whole Foods and American Apparel, which are perceived less as brands or labels than as intelligent generics, came out very high in the ratings of those surveyed.
+'Too much superficial design was not good,' he added of their conclusions.
+Scott Henderson, an independent designer who has worked at Smart Design, was comic on the subject of design as a perennial ingénue.
+'Good design as a 'new thing' is a sad concept,' Mr. Henderson said sadly.
+Transparency is a word being used by design professionals. It might translate as a new, lower profile, like that of the Mac Mini, which even its creator, Mr. Ive, described innocuously as 'nice.'
+Bruce Claxton, who is the senior director of design integration at Motorola and chairman of the Industrial Designers Society of America, said that the physical appeal consumers quickly associate with design could 'become more invisible, more transparent.' In other words, you look through the design rather than at it and, it is hoped, register a product's appeal on a less conscious level. You still reach for your wallet; you just don't argue with yourself about whether it is a frivolous, design-driven purchase.
+Rather than design excitement, 'design provides the focus of the product, of a particular lifestyle,' Mr. Claxton suggested of this next phase of product marketing. Citing the success of the iPod, he said that he believed industries like personal electronics would 'emerge past industrial design to design of a total activity,' providing devices like cellphones or music players that sold not a style but a point of entry to a stylish experience. And at a price. Was Apple once again a seer in the design world, or reading the writing on the wall?
+'When you resonate well -- design with lifestyle -- people will pay more, but not enough people pay well,' Mr. Claxton said. 'The business saturates, and you have to expand your base. You drive up aspirations, then you move down the food chain, to the less expensive models.' Mr. Claxton mentioned BMW's 1 Series compact cars, introduced last year. The company has shelved plans to sell the series in the United States, sticking to the luxury sales strategy that Apple abandoned last week. Target, the chain of stores now inextricably associated with a business philosophy that integrates a belief in design with its corporate image and performance, unveiled its latest television advertising campaign during the Golden Globe awards on Sunday.
+'Expect more. Pay less,' the spot concludes in a tagline, after a cavalcade of design-related imagery. The word 'design' floats across the screen, making acrostics with other stylish concepts, like a beautiful person's daydreams coming into view.
+But Target, which has commissioned product collections from design celebrities like Michael Graves and Philippe Starck, is also taking a different tack now, quietly lowering the volume on a message that it thinks no longer requires noise and concentrating on 'nondesign' design.
+'We helped build the case,' said Michael Francis, executive vice president for marketing, about design in the mass marketplace. 'Now it's time to take it a step further. Not all design is high design.' Mr. Francis used as an example Target's Archer Farms spring water, introduced three months ago, and other grocery items on their way to stores.
+'We've shifted away from one designer with a point of view,' he said. 'We spent a lot of time with design partners that will inform thinking on the packaging that will never bear those designers' names.'
+With a mass marketplace that now recognizes design when it sees it, though it refuses to pay for it, Apple's risk is very real. It has stretched its enviable earpod cord out on the block. Only a company with design charisma can make a price exciting, as Apple now knows, and would do well to remember.
+'I don't think Apple's product cost reduction is a new industry trend or design watering-down,' Dan Harden wrote by e-mail. Mr. Harden is a designer whose company, Whipsaw Inc., designed the Rio Carbon MP3 player, which competes with iPod. 'It's Apple joining the rest of the real world. I just hope they remain a beacon of quality.'
+Cheap on its own has never had much of a name.
+DESIGN NOTEBOOK"
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+AT a motorcycle gathering on a Tuesday night in May at the Ear Inn on far west Spring Street, Suzanne Schick, a patternmaker for the fashion designer Betsey Johnson, roared up astride her purple 1997 Ducati M750 Monster. She wore a matching purple leather jacket. Her hair was purple, too.
+'When I first got my bike, I thought it was so beautiful I wanted to keep it in my bedroom,' she said. 'And Ducatis have the best sound of any bike.'
+Ms. Schick chatted with another Ducati rider. 'I have three and live in Pennsylvania,' he said. 'There, I can really ride them and do illegal things. In the city, you can only do antisocial things.'
+With their flamboyant red or yellow bodies and high performance Italian pedigree, Ducatis are rivaling Harley-Davidsons as the motorcycle of fashionable choice. Wispy models swathed in leather straddle Ducatis in catalogs for DKNY and Dior France. Nicole Kidman, Julia Roberts and Tom Hanks -- even Rosie O'Donnell and the chef David Bouley -- have been photographed riding their Ducatis.
+Ducati motorcycles have been on the roads for more than 50 years, but their worldwide sales have doubled in the last five years, as the company, based in Bologna, Italy, has redesigned everything from its letterhead to its stores. And, yes, it re designed the bikes, too.
+Ducati has presented itself as the un-Harley, using highly sculptured Italian style to set itself apart from Harley's black-and-chrome All-American roadhouse look. 'Harley's keynote is chrome,' said Federico Minoli, Ducati's chairman. 'Ours is carbon fiber.' Devotees are known as Duca tistas. With a top-of-the-line model, the 996, costing up to $15,000, they have quite an investment to protect.
+The Ducati company, founded in 1926 as a maker of radios, produced its first motorcycle in 1950. By 1985, the company was in the hands of the Italian Cagiva conglomerate. Production fell from 21,000 motorcyles in 1995 to just 12,500 the following year because of a shortage of capital. The Ducati makeover was the work of the Texas Pacific Group, a Fort Worth turnaround specialist, which bought the company in 1996.
+Almost immediately, David Gross, Ducati's new director of strategy, commissioned an advertising campaign showing Ducati employees -- from accountants to stockroom boys -- photographed by Ferdinando Scianna, an Italian fashion photographer. 'Every other bikemaker was doing color, so we did ours in black-and-white,' Mr. Gross said. The company also set up a museum at the plant to display famous Ducatis of the past, and it started offering factory tours.
+Mr. Gross hired Lella and Massimo Vignelli to create a new logo. The Italian-American Vignellis are known for their graphic designs for Knoll furniture, as well as the 1970's New York subway map. For Ducati, they provided a logo of a red circle with a simple slash suggesting an abstract D, with the company name boldly rendered in red Extra Heavy Oblique Univers, a typeface that leans like a racer in a curve.
+The company transformed its gritty garage-style shops into spic-and-span boutiques designed by Gensler Associates, the firm that created modular storefronts and interiors for Gap, Banana Republic and McDonald's. Gensler established a store design built around gray metallic perforated panels, accessory cases of wood and glass and large photographs on the walls. The bikes preen on platforms. The storefronts display a frieze of backlighted, colorful technical drawings. Each store has areas dedicated to the company's history and racing. To match the metal of the bikes, Gensler specified Norman Foster's Nomos table and lunar-lander-style Techno chairs.
+The first of the new stores opened in Manhattan in 1998, at 11th Avenue and 42nd Street, followed by roughly 60 more, from Philadelphia to Tokyo. Some dealers grumbled when they had to put their own money into the new interior, but Mr. Minoli could soon point to increases in sales.
+The stores are also intended to increase sales of Ducati accessories, including windshields, carbon fiber fenders, gears, stylish helmets and clothing. Some of the clothes are designed by Donna Karan. Ducati found a happy ally in Stephan Weiss, Ms. Karan's husband and partner, who was a Ducatista even before DKNY stores displayed the bikes as props and turned out leather jackets and other clothing for the Ducati stores.
+Again on the model of Harley-Davidson, which makes about 20 percent of its sales in accessories, Ducati hopes to double its accessories sales, Mr. Gross said.
+The new owners also named Pierre Terrebranche its chief of design. A graduate of the Royal College of Art in London, he is known for combining the dirt-bike rawness and exposed parts of earlier Ducati models, like the Monster, with racing bike sleekness. He speaks proudly of bikes 'with their guts spilling out,' inspired in part by the Swiss designer H. R. Giger, whose drawings set the tone for 'Alien' and its sequels.
+The Monster, the bike Ms. Schick rode to the Ear Inn, was inspired by California-style dirt bikes that 'grunge riders' stripped of their sculptured fenders. The Monster is actually a light, lowslung model favored by smaller riders -- especially women.
+Of course, Ducati's new owners benefited from a wider appreciation of the aesthetics of motorcycles, which partly grew out of 'The Art of the Motorcycle,' a 1998 Guggenheim Museum show, and out of auction house sales of classic motorcycles. These events, Mr. Gross said, 'were important for popularizing the idea of motorcycles as collectible objects of industrial design.' But bikes are convenient in that you don't have to carry them from place to place to show them off. Indeed, they carry you.
+Ducati owners seem aware of this fact -- up to a point. 'They may not ride them very much,' Ms. Schick said. 'They'll say, 'I don't want anything to happen to my 996 to reduce the resale value.' '
+DESIGN NOTEBOOK"
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+AS the final match of the 16th World Cup was being played out in France on Sunday, a full third of the planet's population tuned in to witness the host nation's surprising capture of the most coveted trophy in the world: a thick, drippy, solid-18-karat-gold abstraction of two Atlaslike athletes shrugging the globe.
+In at least one way the mania for the World Cup is understandable, for it is the ultimate trophy, one of the few that is singular: created in 1974 by Silvio Gazzaniga, an Italian sculptor, to replace the original, which survived World War II and theft before being retired to Brazil in 1970. The priceless cup is passed like a torch from victor to victor only every four years, compared with the factory-level output of Hollywood awards, whose repetition dulls their own glow.
+The competition for the World Cup is also the largest in terms of participants; this year's winner was narrowed from 168 countries over a two-year elimination process.
+Let soccer philistines in the United States consider the intense traffic of trophies in their own land. For every achievement there seems to be an arcane assembly -- and arcane loving cup -- to honor it. From hockey's immense Stanley Cup to basketball's tiered totems (proportional in height to its players), each sport has its cup, and so does every momentary prowess.
+How else to explain GQ magazine's Man of the Year award (a crystal male torso with muscles as improbable as those sculptured by Botero), or MTV's movie awards (shellacked bags of popcorn as unappetizing as window-display sushi)? The paradox, of course, is that the more trophy winners there are, the less trophies are able to fulfill their function: to signify uniqueness.
+The trophy glut reflects the growing cultural obsession with heroes, celebrities and winners. 'Part of it has to do with group identity,' said George Lakoff, a professor of linguistics at the University of California at Berkeley.
+'Competitions, even if one participates only as a spectator, reaffirm one's membership in the tribe. And part of it is that trophies identify role models, or attempt to establish new ones.'
+With society ever more splintered, a trophy glut is inevitable. Each social faction has its criteria for greatness and devises a fitting emblem for it, feeding the factory of signs that define culture.
+Though few will come by National Football League rings or Purple Hearts, almost everybody has been bestowed with a certificate or gold-plated trinket to identify competence at bowling, baking pies, flipping burgers, selling stereos, inventing theories, making art.
+Geoffrey Nunberg, the usage editor of the American Heritage Dictionary and a cultural commentator for National Public Radio, agrees. 'A lot of what we see is spurious competition,' he said. 'Most trophies have no other purpose but commercial -- to sell the products of the sponsor, to fill air time and, mostly, to demonstrate the fact that we've gotten quite good at manufacturing trophies, events and celebrities.'
+The function of the trophy has always been to single out the exceptional from the ordinary. Before the modern concept of the individual, the earliest exemplars were sacrificial victims. Ancient societies didn't expect their deities to be satisfied with common fare; hence, the election of the virginal, the clairvoyant, the brave for ascension.
+Modern-day field sports find an antecedent in the Mesoamerican juego de pelota, in which the winner was killed, for he clearly qualified as the most worthy gift to the gods. He was the trophy.
+Trophies gained their glittering, tacky dimension when they became representations of triumph as opposed to evidence of the triumph itself. Military trophies were the spoils of war: opponents' weapons, belongings, the opponents themselves (or parts of them), which were hung on trees or structures as indisputable proof of the conquest. Similarly, hunting trophies were the kill -- the animals, horns, head or hide -- a real trace of big-game bravery.
+Just as early societies eventually figured out that they could substitute animals for humans and then objects for animals in their sacrificial rites, so modern societies have invested objects with symbolic value, affirmed by collective sentiment. The shiny cup, urn and plate (emblems of offering and receiving) remain the most common trophy forms, a testament to the persistence of traditional images of value.
+'Although the value of trophies today is associated with the achievement, the form has to be recognized,' said Leo Brody, a professor of English at the University of Southern California and the author of 'The Frenzy of Renown,' a history of fame, recently republished by Vintage.
+As the expression 'trophy wife' indicates, the primary function of trophies is to be ornamental, and that explains their dazzling appearance.
+It's not surprising that luxury-goods companies like Baccarat and Tiffany & Company have weighed in. Tiffany's is behind the new Women's N.B.A. trophy (a basketball on a pedestal), the New York City Marathon's (a platter etched with a map of the city) and the Lombardi Trophy (a silver regulation-size football).
+On some level, trophy designs do attempt to be meaningful. MTV's popcorn trophy, for example, is deliberately kitschy, so recipients can't be serious when accepting it for such flip categories as Best Scream.
+But the main thing is that it appear permanent. Hence, the justification from GQ's director of communications, Mary Wible, of the magazine's choice of a crystal torso for its Man of the Year award. 'We chose it because it's very masculine,' she said, 'and because it's heavy.'
+Leo Brody suggests that the creation of heroes, celebrities and winners will only escalate, perhaps in inverse proportion to the duration of their fame. But there's nothing wrong with being honored for accomplishments, he said. 'One feature of a democratic society is the multiplicity of ways to get to the top.'
+The cup of the Federation Internationale de Football Association, or FIFA, is one of the few contemporary examples that recall the original meaning of trophies, for many reasons. The sporting ground is the last legitimate battlefield of civilized society, where individualism and nationalism can flare without too much bloodshed. Athletes don't go home with the spoils of the defeated, like their ears (though some might like to). But during the World Cup games, one of the most endearing rituals was the players' polite exchange of not blood but sweat-soaked jerseys at the end of 90 minutes of earnest ankle-hacking. Still, everyone held out for the cup, which is worth more than its weight in gold.
+In an attempt to restore some of the old luster of trophies, the R. S. Owens Company, which manufactures the Oscar, Emmy, Clio and other high-profile awards, is issuing a new line of products called Art as Awards. Scott Siegel, its president, whose company grew from $15 million in sales to $20 million over the last five years, said, 'Nobody wants to decorate their home or office with useless junk.'
+The company has commissioned a glass-blowing company to create limited-edition trophies that are 'works of art first and awards second.' (Although the idea of a limited edition of an object meant to convey uniqueness seems self-contradictory.)
+Still, it proliferates. The trophy's commonness has already distanced it from its etymological root, which derives from the Greek 'tropos,' 'to turn,' as in an opponent's turn of fate, or defeat. As Mr. Nunberg said: 'It's not a trophy unless somebody loses. You can't just have winners.'
+DESIGN NOTEBOOK"
+False,False,False,False,False,True,True,False,False,False,True,False,True,False,False,True,False,False,False,True,False,True,True,False,True,False,True,False,False,False,False,True,False,True,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,True,False,True,False,True,True,False,True,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,True,False,False,True,True,True,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,True,False,True,False,False,False,True,False,True,False,True,False,False,False,False,True,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,True,True,True,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,True,False,True,True,False,False,False,True,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,"Design Notebook; Call It the 'E Pluribus Unum' Floor Plan
+NEW YORK's trophy apartments -- the Village charmers with front-and-back fireplaces, the TriBeCa lofts with three exposures, the prewar dowagers with haughty architectural bones -- probably inspire more action-packed dinner party tales than big-game safaris ever did.
+But most of us working stiffs live in ordinary places, apartments with eight-foot ceilings and five-by-seven bathrooms -- apartments without a trace of excess, accident or eccentricity, but heavy with the sense that the meter was running when the apartment was being built. Many of these efficiency digs are in so-called 'vanilla' buildings -- bland postwar apartment blocks with glazed white-brick facades. For apartment snobs, such buildings occupy the mid to lower genealogical limbs of Manhattan's real estate tree. For architects, their down-to-the-square-inch plans allow little room for maneuvering.
+Fredericka Taylor, an owner of the TZ'Art & Company gallery in SoHo and a member of the architecture and design committee of the Museum of Modern Art, lived in a trophy apartment on Ninth Street in Greenwich Village with drop-dead coziness: her duplex featured a double-height living room and a carved-plaster ceiling dating from the eclectic 1920's. In 1989, it was renovated by the New York architects Henry Smith-Miller and Laurie Hawkinson, and widely published. Ms. Taylor lived there happily until her two grown daughters left home, which netted her two spare bedrooms in an apartment that needed painting. It was time to move.
+Chafing at the narrow dimensions of the town house, Ms. Taylor realized she wanted a more expansive environment: 'I wanted a place with outdoor space and a view.'
+The hunt led her to the upper floors of an antiseptic white building in the Village with a Cinemascopic terrace view of the Hudson and the great valley of buildings between the Village and Wall Street. The terrace, however, came attached to a gaggle of small, maximally efficient apartments that had the potential to become a 2,000-square-foot 'loft.'
+'I was totally taken with all the outdoor space and views,' Ms. Taylor said. 'Henry and Laurie hated it on first sight. They asked me whether I'd signed the contract. I told them it was too late. Now it was their problem.'
+Styles of course come and go, but what is particularly telling in architecture is that moment when overlooked buildings like this iceberg suddenly edge their way back into visual consciousness -- when the familiar and invisible recapture the eye. 'I like it for its ordinariness -- the banality, the anonymity, the lack of pretension,' she said. 'I suppose 60's architecture has come back along with 60's furniture, and nontrendiness now is trendy.'
+Ms. Hawkinson, who was the partner in charge of the apartment's design, said, 'Freddie's an insightful art dealer and had the kind of vision to imagine all of these rooms together.' Ms. Taylor's instinct was encouraged by a friend, the Dutch architect Rem Koolhaas (author of 'Delirious New York').
+'Rem saw it and said it's so quintessentially New York,' Ms. Taylor said. 'He absolutely loves this building, the New York horizontality of the space within Manhattan's verticality.' The low horizon line of her interiors complements the wide terrace panorama and recalls the influence of the open, flat landscape on America's Prairie School architects, especially Frank Lloyd Wright.
+'I'm sympathetic with the 50's and 60's period, and a great admirer of its building stock, but of course the horizontality meant we had no height to manipulate,' Ms. Hawkinson said. 'We had to invent a way to work with what we found.'
+Smith-Miller & Hawkinson was accustomed to her needs, having previously worked with Ms. Taylor on a prewar classic on East 93d, her gallery and the offices for an arts foundation, besides the Ninth Street apartment. 'She's a modernist -- the kind of adventurous client who doesn't care to have a parlor,' Mr. Smith-Miller said. Among her requirements were open space and generous walls for the art she likes to live with before it appears in her gallery.
+After designing two apartments, the architects were also accustomed to the pieces of furniture that followed her. ('By this time, they're old friends, or enemies, for Henry and Laurie,' Ms. Taylor said.) They include her grandmother's antique desk and a hanging lamp by the early-20th-century Dutch modernist Gerrit Rietveld, as well as his complex wood De Stijl sideboard. 'I'm from Holland originally, and that piece becomes the heart of my apartments,' she said.
+She asked for a guest room, a master bedroom and a kitchen open to a living area that would be large enough for receptions. The space also made its own demands. The basic functional issue was how to combine several apartments -- which yielded a surfeit of kitchens and bathrooms, even for a woman who entertains frequently. There was also the esthetic issue of the space so tightly sandwiched between floor and ceiling.
+'I think I always make Laurie and Henry do things that are slightly off what they would naturally do,' Ms. Taylor said. 'It was the first time they'd worked in this kind of building. It was in a way liberating for them, because the apartment didn't have any historical details to contend with.'
+The architects proceeded by a process of elimination. 'Rather than putting new things into an empty space, we were taking things away,' Mr. Smith-Miller said, describing a weeding process that turned out to be unpredictable. 'With a recipe, when you reduce a sauce, you basically know what the end result is going to be. But in a subtractive process, you don't, and we didn't. We just started taking out walls here, kitchens and doors and halls there. The things we could live without. Reduction is based in theory; the subtraction came from the field.'
+The architects embarked without a grand master plan or even a preconceived esthetic -- 'to find out what was there,' Mr. Smith-Miller said.
+After they stripped away walls, the architects found immovable trees -- that is, the plumbing chases, ventilator ducts, structural columns and gas lines. Those 'trees,' which the architects wrapped in steel sleeves and plaster, created a grove in the otherwise loftlike space, giving it a spatial porosity: the back living room is viewed through what they called a forest.
+'The forest became a place for hanging art and placing sculpture that encouraged intimate viewing within an area you'd move through,' Ms. Hawkinson said.
+Mr. Smith-Miller said: 'We're dealing with very late 50's modernism, but the developer had forgotten the open plan. We basically took out rooms that shouldn't have been there and made it into a generous open space.'
+Within the overall strategy, the architects developed a tactic based on details. They removed paint from standard air-conditioning covers to expose the metal, and made light valances for paintings out of exposed steel. They laid floors of cold-rolled steel plate in the heavily trafficked kitchen and entrance. They exposed any and all mechanisms, like the tracks supporting a long sliding wall (which doubles the wall space for viewing art in the dining area). They left new hand-troweled plaster unpainted, emphasizing matter in the unstated battle every architect fights against the bland abstractions of plasterboard. In all ways they attempted to leave the mark of the hand, in response to the machine esthetic that had made the original apartments so dry.
+All the decisions about materials and forms gather into an interlocking puzzle that confirms a law of chaos theory -- that simple systems added together breed complexity. Perhaps the boldest move was to float a lowered ceiling down the walkway from the entry to the living room. Made of oak flooring, what the architects call their 'surfboard' hyphenates the front and back spaces and gives the room a second height dramatized by backlighting.
+Little by little, the boring, boxy interiors acquired an austere, elegant Shakerlike appearance, with blond wood and metal accents. Ms. Taylor furnished the interiors sparely with a red Eileen Gray sofa and a foursome of cube chairs by Le Corbusier. She brought her old Traulsen refrigerator along, which the architects displayed in the open kitchen like a piece of functional stainless-steel sculpture. The 1918 Rietvelt sideboard earned a niche of honor between the front and back living areas; coincidentally, the piece presaged the layered richness of modernist space explored in this apartment.
+With their laissez-faire approach, the architects found a certain 'give' in apartments that were originally planned with designated places for beds, sofas and dining tables. The logic of the robotic assembly line had lived on in plans that implicitly regulated how people walked through their lives at home, as though on a factory floor.
+'There's a postwar mentality of industrial standardization embedded in these populist buildings, which were built as inexpensive housing for the masses, like vertical Levittowns, and you had to accept that posture because the plumbing and layout locked you in,' Ms. Hawkinson said. 'We tried to subvert that.'
+Granted, the architects had the luxury of 2,000 square feet, but they also freed the spaces of their cookie-cutter imprint and the concomitant idea that there are only one or two ways to occupy a room. The open kitchen, separated from the dining area by a freely shaped kitchen island and a cantilevered pass-through cupboard, epitomizes the new informality. Relaxing the apartment's attitudes proved that there was architectural life in the box yet, no matter the size. 'I don't think modernism has been exhausted,' Ms. Hawkinson said."
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+THE dream of a cutting-edge prefabricated modern house is inching closer to reality. A prefab from Austria has been pieced together in upstate New York. Another one, Glidehouse, is under construction and will soon be displayed in Menlo Park, Calif. Yet another, the LV, is already in production.
+And a new book, 'Prefab Modern' by Jill Herbers (HarperCollins), which chronicles some of these innovations, is coming in June.
+Architects are learning to adapt to the constraints of mass production, while modular housing companies, used to churning out fake tudor villas, are beginning to recognize the market for well-designed affordable houses.
+But consumers hoping for an instant 1,500-square-foot three-bedroom home with shimmering glass walls and a cast concrete fireplace are learning that such houses are not coming off the conveyor belt like cars. And they are not for everyone.
+Until recently, most so-called prototypes rarely went further than the museum courtyard. But some countries, including the Netherlands, Switzerland and Austria, took prefabs more seriously, encouraging them with state-sponsored subsidies. Oskar Leo Kaufmann, an Austrian architect, designed one house, the OA.SYS (Open Architecture System), especially for North America.
+One of these was recently built in Mileses, a small town in New York, where it now sits on a rolling 132-acre property owned by Matthew and Yolanda Hranek, who wanted a weekend escape from New York City. All parts of this pristine house, including the built-in furniture, were sent from Austria in four shipping containers and assembled in less than two months by a crack team that flew from Austria and stayed in a bed-and-breakfast.
+'The level of craftsmanship and material were far superior to anything I could have imagined in a prefab,' said Mr. Hranek, who was delighted with the final results but had a caution for prospective prefabbers. 'Be prepared for the turmoil and added costs of site preparation,' he said. Total costs for OA.SYS, including site preparation and the expense of housing and transport for the assemblers, came to almost $300,000.
+A younger generation of designers and architects in this country are re-examining modernist themes like modularity, prefabrication and mobility. Giuseppe Lignano and Ada Tolla, partners in the Manhattan-based firm Lot-Ek, have been leaders in prefab thinking, working with inexpensive elements, especially steel shipping containers. The prototype for their Mobile Dwelling Unit (MDU) was exhibited last fall at the art museum of the University of California at Santa Barbara. It will be shown next summer in the courtyard at the Whitney Museum of American Art in New York.
+Rocio Romero, a patient and persistent pioneer in the prefab boom, has managed to bring her LV House prototype into production. A model home is currently on display in Perryville, Mo., and orders are coming in, about a third of them from Southern California, according to Marshall Mayer, the chief executive of LiveModern, an online company that markets the LV. 'Modernism isn't a dirty word there,' he said.
+The 1,150-square-foot LV is clad in panels of corrugated aluminum (Galvalume) and features broad sections of floor-to-ceiling glass. Parts arrive at the building site on a single flatbed truck. The basic LV kit costs $29,000 plus shipping, usually around $3,000 in North America. But buyer beware: it does not include foundation preparation, electrical, plumbing or interior finish, nor does it include the glass panels that give the house its open, modern appeal.
+Homeowners must arrange with local contractors to carry out those parts of the process, and Mr. Mayer estimates that these costs can run from $50,000 to $100,000. Even so, the total cost is still perhaps $100,000 or less.
+Ms. Romero has also designed and built a rudimentary unit that she calls the Fish Camp house, or 'an adult treehouse.' While this is not yet in production, she hopes to market the Fish Camp, a modest 12-by-24-foot cottage, this spring at budget prices.
+One big modular home manufacturer, Royal Homes, in Toronto, may be playing godfather to the mass production of modernist prefab homes. It is coming out with the Q series of modular houses designed by the Toronto-based firm of Kohn Shnier Architects. The Q series will have three different models ranging from 625 to 1,000 square feet and starting around $100,000. 'I wanted to design a product that was affordable and as accessible to the general public as Ikea furniture,' said Lloyd Alter, who is that rare exception in the mass housing trade: a trained architect with a sensibility for clean, modern lines. (He attended the architecture program at the University of Toronto in the 1970's.)
+Royal Homes plans to go into production on the Q series and on a larger home called the Glidehouse in the next few months. The Glidehouse was designed by Michelle Kaufmann, a 35-year-old architect based in San Francisco. She and her husband, Kevin Cullen, initially developed the house for themselves for a half-acre lot in Marin County. 'We wanted to make it as green and sustainable as possible,' Ms. Kaufmann said. When several friends said, 'Hey, we want something like that!' Ms. Kaufmann took the next step.
+She contacted home manufacturers through her company, MKarchitecture, but she had a rude awakening. 'At first they ignored me altogether,' she said. When she did reach someone it was only to hear, Why would anyone want a modernist house? 'We have so many nice styles already available,' they told her, traditional house styles with names like the Dutchess, the Brewster and the Patriot.
+But Royal Homes was one manufacturer that showed genuine interest. 'What impressed me was it was one of dozens of prefab designs floating around that was ultimately buildable on today's production-line equipment,' Mr. Alter said. Royal Homes and Britco, a company based in Vancouver, will begin making Glidehouse this year. 'I have a lot of people already interested,' Mr. Alter said.
+The standard Glidehouse is a 14-by-48-foot box designed to fit on a flatbed truck. The house has a slightly pitched shed roof made of standing-seam metal. Exterior walls are made of corrugated Corten steel that has been allowed to rust and turn a deep red. One full wall of the house has sliding glass doors; the opposite interior wall is made from birch panels that slide to reveal storage units (hence the name, Glidehouse).
+A narrow deck runs around the front of the house. Wherever possible, Ms. Kaufmann introduced sustainable materials -- split bamboo floors, countertops made from a new concrete product that uses recycled paper, coal and granite ash.
+Beginning on May 15, a demonstration version of the Glidehouse will be erected on the grounds of Sunset Magazine's headquarters in Menlo Park. It is one of the featured events at the magazine's annual Celebration Weekend, a lifestyle and product festival.
+'There's a great pent-up demand for solutions to the housing problem,' said Dan Gregory, the home editor of Sunset, who looked at many of the prefab offerings but was most impressed by the Glidehouse. 'It's well proportioned and handsome and creates a strong connection to the outdoors,' he said. 'It reinvents the Eichler homes for today in a prefabricated, manufactured house.'
+The standard version of the Glidehouse (at 672 square feet) will go for $81,000, including kitchen, bathroom and one bedroom. The next one up, the 1,344-square-foot two-bedroom house, is $161,000. 'Good design allows you to live comfortably with smaller spaces,' said Mr. Alter of Royal Home.
+DESIGN NOTEBOOK"
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+WHEN the dance beat dies and the stragglers disperse, Tom Whitman heads to the hills above the Sunset Strip for a little peace.
+An event planner catering to Hollywood's gay community, he stages 200 or so parties a year, including Wonderland, the largest of the city's Gay Pride events, which will be held Saturday on Paramount Studios' back lot.
+A party boy needs a place to unwind. So three or four nights a week, well after 1 a.m., he drives his silver Porsche convertible up the twisting back roads of Silver Lake, the once rough-at-the-edges neighborhood now populated by hipsters and musicians, to a 1921 Spanish bungalow he renovated last year as his refuge from all things rowdy and raucous.
+'My job means being around thousands of people talking and dancing and having fun,' Mr. Whitman said. 'When I come home I want to simplify my life.'
+The house is designed for calm, starting with the black slate steppingstones that meander across his abbreviated thatch of lawn and the pocket-size rock garden with beach pebbles and a trickling water basin that manages to feel authentically Asian.
+The bungalow inside is simple, verging on austere, with little deviation from dark-stained wood, white walls and stainless steel. Mr. Whitman, 35, who bought the house two years ago for $600,000, outlawed any carpets or color. 'I never wanted it to be a crazy, vibrant place,' he said last month in a tour of the place, which he moved into in September. 'I don't think that's relaxing.'
+He added: 'It may be a gay man's house, but it's masculine. It's not fussy.'
+The only decorations are a series of Mr. Whitman's sepia-tone photographs of far-flung spots like the Hagia Sofia in Istanbul and a Roman fountain by Bernini. The pictures reflect Mr. Whitman's itinerant upbringing; his father was an Air Force colonel, and the family moved every two or three years around Europe and America. The bungalow is the first residence he has owned, and he said he sees it as his first real home. 'Home was always where my parents were,' he said. 'This is my first opportunity to translate the idea of home into a physical place.'
+Mr. Whitman's architect, Michael Neumayr, also lives in Silver Lake, about a mile away in a renovated cottage he shares with his wife, Pia DeLeon,  a lighting consultant whose clients include Brad Pitt and Kanye West. She is also an owner of Plug Lighting (pluglighting.com), a West Hollywood store regarded by California designers as the West Coast's pre-eminent source of modernist lighting.
+When Mr. Neumayr, who grew up in a remote part of Austria, settled in Silver Lake two years ago with Ms. DeLeon, he was unaware that the neighborhood was a showcase of Austrian design. R. M. Schindler and Richard Neutra, the Austrian masters of modernism, moved to Los Angeles in the 1920's after working for Frank Lloyd Wright in Wisconsin and Illinois, and built a disproportionate number of homes in Silver Lake, in part because their spare, progressive designs appealed to the movie industry's creative community, which was then concentrated there. Like his countrymen, Mr. Neumayr has found that Austrian modernism translates well to Southern California. He brought a Neutra-like modernist rigor to Mr. Whitman's bungalow, most evident in the kitchen, which has black lacquer cabinets and a 14-foot-long island with a black slate countertop. 'I'm not into manufactured materials,' Mr. Neumayr said. 'I like the beauty of humble natural materials like wood, metal, glass and stone, the materials you can find in any old Austrian farmhouse.'
+Oddly enough, Mr. Neumayr also brought a taste for Asian tradition. At first a skeptic, he began experimenting with feng shui while renting part of a 12th-century castle outside Munich, and came to believe in its benefits. At Mr. Whitman's house, feng shui influenced the placement of the path and fountain at the entrance ('the East is considered the direction of wealth') and the careful symmetry of the floor plan ('you should feel like it's calm and balanced').
+Feng shui also encouraged Mr. Neumayr to position the Bosch range in the cooking island so that Mr. Whitman faces guests while frying steaks or stirring soup. 'It's much better if you can look at people and talk to them while you're cooking rather than face a cubicle,' Mr. Neumayr said.
+As a painter and a director of two animated short films, Mr. Whitman brought his own visual acuity to the renovation; the men say they pushed each other, particularly in the detailing. The master bathroom, for example, attained a level of refinement neither would have achieved on his own, with its painstakingly assembled oak wood floors, frosted glass, stainless steel and slate. A custom-designed black concrete sink and vanity stand in front of a mirrored wall with an integrated medicine cabinet. The materials seamlessly flow into one another without a single lip or overlap. 'It was the hardest thing I've ever done,' Mr. Neumayr said.
+They chose to keep much of the front of the house, including its original white stucco facade, either intact or close to its original condition, and added white doors. The house grows more modern and the palette turns darker as you walk to the back where three French doors open onto a yard with views of the Hollywood sign and seating of poured concrete and ipe, a durable hardwood from South America, built around a fire pit made of Balinese lava stone.
+Their collaborative push for refinement was not without its costs: the renovation budget tripled to $300,000.
+Their only point of contention was the refrigerator. Mr. Neumayr advocated a compact version fashionable in Europe, in part because it would integrate neatly into the kitchen. 'But I'm an American,' Mr. Whitman said, 'and I wanted a big American refrigerator.'
+They settled on a Frigidaire big enough for Mr. Whitman's ample supplies of Corona, wine and leftovers from Sunday afternoon barbecues.
+By Mr. Neumayr's description, the completed house is mostly about its lighting. 'It's very theatrical,' he said, 'without being Las Vegas.' Of course, he may say that because Ms. DeLeon provided the lighting, choosing luminous hanging sculptures that glow against the subdued furnishings and white walls. 'Before now I'd always thought of lighting as an afterthought,' Mr. Whitman said. 'Pia taught me that the drama of a room comes from its lighting.'
+In the master bedroom, for example, matching Drop pendants made of blown glass with halogen bulbs by Heinrich Fiedeler and Michael Raasch add a subtle industrial touch. Over the dining table hangs Clara, a pendant designed by Mr. Neumayr with dark wood and lampshades. (The couple met when Ms. DeLeon stopped to admire his design for the Clara lamp at a lighting show in 1999.) 'I wanted Tom's house to be lit in such a way that when he's entertaining, it's very sexy and diaphanous,' she said. 'It was important that the lighting be unobtrusive, so you noticed only the light, not the fixture. I wanted there to be a tactile feel to the light.'
+At night the house glows like a lantern as Mr. Whitman passes the Coronas and turns up the fire pit. 'For me, hanging out with friends doesn't mean going to a bar,' he said. 'Because of my job, it's the last thing I want to do. It's nice to be away from all that. It's nice to be here.'
+Design Notebook"
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+THE blockbuster show here right now is 'Tutankhamen and the Golden Age of the Pharaohs' at the Los Angeles County Museum of Art.
+But for those interested in modern design, a small exhibit at the Pasadena Museum of California Art could be the portal to equally amazing discoveries -- an antechamber to lost riches of the last golden age of American design.
+The museum's second design biennial, which will end on Sunday, is a juried selection of contemporary California design that includes examples from obvious suspects like Apple Computer in Cupertino and Oakley, the eyewear designer, in Foothill Ranch.
+But in the spirit of a remarkable series of exhibitions called 'California Design,' mounted by the now defunct Pasadena Art Museum and its director, Eudorah M. Moore, from the 1950's to the 1970's, the biennial also includes independents like Lauren Saunders in Ventura, who knits paintings as pillows; Trina Turk, a fashion designer in Alhambra; Bluelounge Design, a four-man office in Pasadena that designs everything from footwear to furniture; and Osborn, an architectural firm in Glendale that developed a set of paint stencils able to reclad an elementary school building quickly, with energetic color and pattern.
+This is California, where even the weather feels both fortuitous and designed.
+'California has a sense of -- why not, let's try it,' Ms. Moore said in a telephone conversation last week. She said of her exhibitions, 'There was a brilliant optimism to what people were making and doing, and I thought it was important to record it.' The shows, which were hugely popular at the time, are now largely forgotten outside the state.
+'California Design: The Legacy of West Coast Craft and Style,' a book by Jo Lauria, an independent curator, and Suzanne Baizerman, a curator of craft and decorative arts at the Oakland Museum, to be published next month by Chronicle Books, will revisit Ms. Moore's work and California's midcentury moment in the sun.
+With its integral interests in craft and design, from furnishings to products to environmental art, outdoors as well as indoors, and fashion, too, California's contribution to the American imagination at home is something so ubiquitous now as to seem commonplace. We call it lifestyle.
+California, characterized by the pop culture it created in music and movies, insisted that design was pop culture too, there to be used by all, in its every aspect.
+As Pasadena's current biennial makes clear, California as a force in design, relevant precisely because it is regional, is not a thing of the past. It is an endless summer. If globalization is now a fond idea for industry looking to design to increase sales, California designers and their output seem continuing proof of the potential of the local climate.
+'If Columbus had discovered California, there wouldn't be an East Coast,' said Gere Kavanaugh, a designer in Los Angeles whose clients have included Nissan, Hallmark, Max Factor and PepsiCo, and who was included in 'California Design.' Ms. Kavanaugh shared a studio with Frank Gehry, now one of the state's favorite sons, in the 1960's and 70's. 'All the major car companies in the world have a design studio here, I mean every single one, whether Japanese or European,' said Dominic Symons, who founded Bluelounge. 'They do all the advance concepts out here, and you wonder why that is.' Bluelounge is currently at work on interface design for Panasonic DVD and DVR players.
+Ms. Turk, the fashion designer, said, 'I think a lot of major trends that have happened over the past 30 years have come from California.' Ms. Turk mentioned the importance of denim, especially innovative denim, the current surf wear influence, and the gradual 'casualization' of fashion generally.
+'A totally California thing,' she said, sitting in her office at a plywood desk designed by Charles Eames, a California designer.
+'I think California is the center of the universe,' she said, laughing at her prejudice.
+For anyone not familiar with the original 'California Design' exhibits or their catalogs, now highly collectible books, Ms. Moore's exhaustive project is an astounding treasure. For every recognizable name like Sam Maloof, the dean of studio furniture makers, or Harrison McIntosh, a pre-eminent potter, there is a wealth of influential unknowns: ceramists, weavers, industrial designers, glassblowers and jewelry makers.
+But what is California design?
+'I think it's fair to say the climate and culture and geography are a big influence,' said Michael Downes, a designer with Giant Bicycle Company in Newbury Park, whose 'Fashion Bikes,' a pair of women's sport bicycles that look more like flip-flops than machines with gears, are included in the Pasadena biennial. The bike's foot pedals are flower petals. 'If you imagine yourself riding these products, it's a perfectly beautiful day in California, as opposed to winter in Minnesota. It's an illusion, but California represents an ideal.'
+But would Mr. Downes consider himself a California designer?
+'It's an interesting question. Technically, I'm English and I work for a Taiwanese company,' he said. 'But, yeah.'
+More broadly, as values that helped form designs, Ms. Moore and others characterized California's cultural climate and landscape as open and permissive, like stretches of blue sea or sky, explorative and adventurous, ripe with possibility and peopled by those who sought that out.
+'Designers came here because they could do what they wanted to and not feel constrained by conventions,' said Bill Stern, director of the Museum of California Design, which organizes traveling exhibitions and education programs. 'In the postwar period, there was an enormous influx of people to California because of employment. In 1943, 640,000 people came to California in one year. All those people needed houses, and they needed things in their houses. Designers were coming from all over the country, because there was competition to have things that were new, fresh, that hadn't been seen before.'
+Charles Hollis Jones, sometimes called the father of acrylic furniture, moved to Los Angeles from Indiana in 1963, at age 18, to pursue a career in design, because the excitement in materials and technology was there, something that still draws designers over 40 years later.
+'They were making canopies for airplanes, casting sheets of acrylic four inches thick and curing them in the ground for 22 days,' Mr. Hollis Jones said of the aircraft industry in California. 'They weren't making canopies for airplanes in Bloomington, Indiana.' He used the techniques on furniture, developing an A-list clientele that included architects like John Lautner and Paul Williams, decorators like Billy Haines and Arthur Elrod and the local citizenry -- Hollywood stars.
+'I did 40 tissue boxes and wastepaper baskets for Sinatra,' said Mr. Hollis Jones, who was included in Ms. Moore's 'California Design' in 1970 and 1976 and who is experimenting now with blowing acrylic by glassmaking techniques.
+'What California design is for me, is the fact that it bends the rules and exaggerates everything,' he explained, as though the process were a sheet of plastic to work with. 'We're not afraid here. You can have a dream and you can make it come true.'
+Lauren Saunders, who is included in the Pasadena biennial, quit an important job in the apparel business in 2001 and moved with her fiancé, Daniel Vehse, an industrial designer, from Los Angeles to Ventura, where they live and work in a small law office built in the 1950's, on a street that overlooks the ocean.
+For Ms. Saunders, it was something of a political act, an element of design not unknown to California, where by the 1970's, and the end of Ms. Moore's series, designers were vociferously invoking craft as a reaction to mass production and corporate inflexibility.
+Though her hand-loomed pillows show a range of local influences -- one collection, Cypress, was inspired by the colors and shapes of driftwood picked up beachcombing after a storm -- Ms. Saunders is also a California designer by intent.
+'I wanted to lead a more satisfying life,' she said, sitting in her living room, her work stacked on the dining table. 'Create something that had value that I could be really proud of.'
+Ms. Saunders, who designed apparel fabrics and described the business as 'a bunch of people running around like they're curing cancer,' talked last week of her interest in working with other small independent companies run by women, and the idea of employing women who could bring their children to work, with a rotating responsibility for child care.
+A native of Michigan who studied at the Fashion Institute of Technology in New York, Ms. Saunders moved to Los Angeles reluctantly, to take a job in 1993.
+'I didn't want to come out to California,' she said. 'It might as well have been the South.'
+Now, Ms. Saunders speaks comfortably of being a California designer, in part because of the artistic individuality it implies, and in part because of what she calls her 'weird utopian desire' to do the right thing.
+If you measure success by who succeeds you, Ms. Moore has every reason to be proud.
+DESIGN NOTEBOOK"
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+JAMES HYDE, an artist whose new paintings -- six- and nine-foot-square throw pillows -- are slumped against the walls at the Brent Sikkema gallery in Chelsea, quoted Matisse when asked about his interest in interior design.
+'Art should be a soft armchair for the tired businessman,' Mr. Hyde said.
+At Tom Sachs's studio on Centre Street, a red Knoll International trademark logo, meticulously painted by the artist, graces his new sculpture: a D.J.'s double turntable.
+'You can have the best concept in the world,' said Mr. Sachs, who was wearing a black rubber-band bracelet that read, 'You are gifted in many ways.' 'But if it doesn't look good, what's the point?'
+For years, design has wanted to be art, quoting every art source it can think of, appealing to collectors and showing up, a self-conscious guest, in galleries and museums. The best work was painterly or sculptural, but it still didn't get the respect.
+While design has been worrying about its artfulness, a generation of artists working now and exhibiting widely are investigating design, from residential architecture to interior and furniture design to home renovation, envying its ability to reach the public and to be relevant.
+'Artists are really seduced by the power that design has to insert itself into people's lives,' said Andrea Zittel, an artist represented with nine others in 'Against Design,' an exhibition opening tomorrow at the Institute of Contemporary Art at the University of Pennsylvania in Philadelphia. Installation pieces include Ikea shelving, carpeting, kitchenettes and lighting. Angela Bulloch's 'Bean Bag Set' is just that.
+Ms. Zittel's signature 'A-Z Living Unit' is there: a fold-up kit of severely condensed living space, with a mattress, a dressing mirror and a hot plate. In creating an appliance that simplified life with elegant functionality, Ms. Zittel used design to make a social comment. 'I became interested in how design inverts values,' she said, 'like simplicity, which is associated with poverty. But design has made it glamorous.'
+Steven Beyer, the exhibition's curator, said, 'It's a funny little generational moment.' The artists included in the group are largely in their mid- to late 30's. 'Most have been affected by the built environment -- more affected than by painting and sculpture in museums.'
+He added: 'These artists are very savvy about the commercial world, that if you're going to survive, you have to have something to sell. This is closer to a designer's sensibility -- that kind of practicality.'
+The show includes two queen-size beds, with matching nightstands and dressers, by Jorge Pardo, a California sculptor, whose clients live with and sleep on the pieces. Mr. Pardo lives in a hillside house in Los Angeles that he designed in 1998 as an installation piece, '4166 Sea View Lane,' commissioned by the Museum of Contemporary Art.
+'I became interested in interior design and architecture living in L.A.,' said Mr. Pardo, who admires Richard Neutra and R. M. Schindler. 'The museum situation is limited. Some of the most interesting objects are houses.' Mr. Pardo is now working on houses for other people.
+'I'm getting invitations that are pretty straightforward design,' he said of recent commissions. 'Design is a lot easier to understand. It's like collecting baseball cards.'
+The right kind of design is also intensely influential right now. It has not escaped the notice of the art world. With the hybridization of interior decoration and fashion design by magazines like Wallpaper and by advertisers like Calvin Klein and Gucci and with the ubiquity of graphic design in music videos and on the Internet, a younger generation will crowd a party at the Gansevoort Gallery, which exhibits design, as quickly as it will the Gagosian Gallery, which shows art. The high-rolling collecting market for midcentury modern furniture has helped, too.
+Mr. Hyde, the artist, said he believed that the emergence of Charles and Ray Eames, designers and artists who have become new American folk heroes because of the recent exhibition of their work, and the popularity of their chairs were responsible for much of the acceptance of design among artists.
+'I'm sitting in one as we speak,' he said. 'The Eameses engaged their lives so much with their work. The truth is, how do you make significance in the cultural area? You can make an aesthetic statement with a chair as well as a painting. Good design has become something philosophic.'
+Deborah Solomon, an art critic, thinks that the design citations are frequently evidence of disappointment in the failure of 20th-century art's utopian social agendas.
+'The furniture is intended as a symbol for the failed dreams of modernism,' she said. 'Art can't save us. It's just something to sit on.'
+The idea of placing domestic fixtures in unlikely contexts or embodying conceptual thinking in furniture is not new. Marcel Duchamp's ready-mades early in the last century and the work of sculptors like Scott Burton, who produced chairs in the 1970's, comprise a short history of it.
+Rachel Whiteread's 'Untitled (One Hundred Spaces),' a room-size installation of resin casts of the spaces beneath chairs, which was included in the recent 'Sensation' exhibition at the Brooklyn Museum of Art, investigated the resonance of a simple habitation, like sitting. The blocks look like archaeological artifacts, brushed, cleaned and presented in a museum, from a people who can now only be conjectured: postwar Britain as Pompeii.
+'Living in a time with so much demographic and technological change that is directly affecting domestic environments, artists and architects alike are aware that here is fundamental space -- domestic space -- that can't be taken for granted in its meaning,' said Joel Sanders, an architect.
+Clay Ketter, included in the Philadelphia show, works strictly with what he knows. Mr. Ketter builds sculpture with shelving and kitchen cabinets that he buys at Ikea.
+He agreed with Mr. Beyer that it is a generational issue. 'We were all born in the 1960's and 70's, when 'norms' and 'standards' were truly mass-produced, as design,' Mr. Ketter said. 'Rather than buck that, we embrace it. I walk into Ikea, and I'm a consumer. I buy a kitchen, but I make art out of it.'
+Jim Isermann, whose color-field braided rugs, Orlon carpet canvases and atomic-age interior decor were the subject of a previous show, teaches himself his artistic techniques from home-hobbyist books.
+For other artists, working with the domestic detail of being at home is working with what isn't known but what must be uncovered through autobiography.
+Ms. Zittel questions the pleasures of solitude, designing trailers as art to travel in. 'I think about this all the time,' she said. 'I'm 34. I've lived alone most of my life. It's excruciating to try to share a house with even one other person. We all crave 'going home' and being alone and being safe, but I think it weakens us.'
+Last year, Rirkrit Tiravanija, a New York artist, replicated his East Village apartment in plywood, with a working kitchen and bathroom, for Gavin Brown's Enterprise, an exhibition space on West 15th Street. When in residence, the artist cooked Thai curries for guests.
+The recent collaborations between art and design have also created cooperation in both directions. Rem Koolhaas, the Dutch architect, has commissioned bathroom fixtures from Joep van Lieshout, a Dutch artist included in the Philadelphia show, who makes sculptures that are sinks and tubs.
+For Mr. Sachs, the sculptor, the association between the two fields seems natural. Mr. Sachs studied architecture for two years in London, including an informal internship with Tom Dixon, a designer, and later worked with Frank Gehry on Mr. Gehry's bent-maple furniture collection for Knoll. In a recent visit, Mr. Sachs, 33, seemed comfortable with the fact that art and design's current cross-referencing was fashionable. Mr. Sachs trades on it, dropping names in his art, like Knoll or Hermes, like a restaurateur shaving truffles onto rice and then charging by the ounce.
+In his last show at the Mary Boone Gallery in September, Mr. Sachs displayed 1,100 nine-millimeter cartridges in an Alvar Aalto Savoy vase, which opening-night guests were invited to take as favors, a move that provoked the police, who arrested Ms. Boone, more than critics. Mr. Sachs, who was GQ's Man of the Month in December, was not included in the Philadelphia show.
+'It's work without any of the rigor or structure of anything in either the design or art worlds,' said Mr. Beyer, the curator.
+Mr. Sachs, who has three assistants who were working on projects for five imminent shows, thinks his product is good. 'I approach it as a small business,' he said of his art, noting his admiration for Andy Warhol's factories and Keith Haring's Pop Shops. 'I would like to ultimately do things that more people can have, but right now we need to focus on establishing the brand.'
+Mr. Sachs grew up in Westport, Conn., a neighbor of Martha Stewart's. He discovered the nexus of art and design when he was 19, at the Museum of Modern Art in New York, 'seeing art like Richard Serra, then the design department on the fourth floor, which was real things,' Mr. Sachs said. He recognized Marcel Breuer's Wassily chair from 'the shrink's office.'
+'Later I realized that there was no difference between Breuer and Serra, except Breuer's a better sculptor and Serra's a better architect,' he added.
+Mr. Serra, an artist of a different generation, might dispute Mr. Sachs's generosity. An essay in the catalog for 'Against Design,' by Mark Robbins, the director of design at the National Endowment for the Arts, begins by quoting Mr. Serra: 'To deprive art of its uselessness is to make it other than art.'
+DESIGN NOTEBOOK"
+False,False,True,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,True,False,False,False,True,False,False,False,False,True,False,True,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,True,False,False,True,False,False,True,False,False,False,True,True,True,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,False,False,True,True,True,True,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,False,False,True,False,False,False,True,False,False,True,True,True,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,True,False,False,False,True,False,True,False,True,False,False,False,True,True,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,True,False,False,True,False,False,False,False,False,True,True,False,False,False,False,True,True,False,False,True,False,True,True,False,False,False,True,True,False,False,False,True,True,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,True,True,False,False,False,False,True,False,False,True,False,True,False,True,True,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,"In This Home, Dada Has a Nautical Spin
+THE only sign of the house from the winding country road is a wooden post carved with a barely discernable anchor, the personal logo of the former sailor and sculptor H. C. Westermann. Up close, a visitor can see abstract animal heads jutting like gargoyles from the porch rafters.
+Westermann envisioned the house here, just north of Danbury, as his landlocked harbor, a retreat from the art world and his own devastating wartime memories. Michael Rooks, an assistant curator at the Museum of Contemporary Art in Chicago, has called the house  Westermann's 'greatest work of art.'
+'Westermann applied every discipline he practiced as an artist in the details of the house,' Mr. Rooks said. Like many of Westermann's sculptures, it is a sturdy box, built to withstand the knocks of a hostile world.
+Born in Los Angeles in 1922, Horace Clifford Westermann, known as Cliff, blended Dadaism and American folk humor in an art form that was out of sync with the 1960's and 70's. His obsessive workmanship was nothing like the foundry-produced sculpture of many minimalists of his time. He had his admirers (Mies van der Rohe bought one of his first pieces, and Donald Judd was a fan), but not until last year, 20 years after his death, was Westermann described -- by the critic Robert Hughes -- as 'one of the great American talents.' Next Thursday, the first major show of Westermann's sculpture in two decades, along with prints and drawings, will move to the Hirshhorn Museum and Sculpture Garden in Washington. The exhibition had been at the Museum of Contemporary Art in Chicago.
+Westermann's sculpture is often seen as a link between the lyric boxes of Joseph Cornell and the menacing plush toys of Mike Kelley. His sensibilities were shaped to a large extent by his experiences as a gunner on aircraft carriers during World War II. In a letter home, he described a sister ship, the U.S.S. Franklin, after it was attacked by kamikaze pilots, 'engulfed in flames,  smoke, and explosions from stern to stern.' In all, 724 crewmen were killed. Weeks later, he wrote, the Franklin was 'still smoking & had a terrific list & the smell of death from her was horrible.' From these harrowing visions came his 'Death Ship' sculptures, ominous wooden hulls locked in glass cases in a sea dotted by shark fins.
+Westermann studied under the G.I. Bill of Rights at the Art Institute of Chicago, supporting himself in part as a carpenter. In 1959 he married Joanna Beall, a painter, and 10 years later the couple inherited land and a caretaker's cottage here from her family. Westermann, wearing a battered straw hat and loose overalls, a cigar ever in his mouth, built much of the house himself.
+Ms. Beall, who never changed a thing, lived here until her death in 1997. Two years ago, the couple next door, Dr. Ron Gaeta and Whitney Lowrey Gaeta, saw the inside of the house and immediately wanted to save it. They bought the place and now rent it to another couple.
+Westermann's studio, attached by a breezeway and completed before the house was, is still packed with his obsessively arranged tools and the hardware he stashed in cigar boxes. Curls of shaved wood still dot the floor as if Westermann had just ducked out.
+Dr. Gaeta, a veterinarian who once worked as a carpenter, likes to point out the trusses in the attic, which resembles the interior of a wooden ship hull, and the wooden door latches and exposed joints above the stairs. The walls are hand plastered, the mantel bricks hand shaped.
+Westermann's sculpture influenced his construction efforts -- and vice versa. His 1971 'Battle to the Death in the Ice House' represents a wry comment on the difficulties of construction, said Mr. Rooks, a curator of the Chicago show. And a robotlike sculpture is titled 'Billy Penn,' after the brand name of the air ducts Westermann wrestled into place in his home. His last sculpture, 'Jack of Diamonds,' is a figure made of the mesh used in plasterwork.
+Westermann acquired his craft while at sea and his sculpture descends from nautical arts like scrimshaw and ships in a bottle.  He made sea chests and strong boxes, mock tools (a hammer with two heads) and small houses of wood, metal or screen mesh.
+Westermann was a connoisseur of exotic woods and often labeled the ones in his sculptures: ebony, mahogany, zebrawood. He did the same in the house: a beam is marked 'walnut,' a saw is carved on the top of one window, and a door top has an inlaid heart and arrow professing his love for his wife. Westermann inscribed his own name on a studio rafter.
+Westermann worked on the house for a decade. But when he died, the house was not quite done. He never did live in it. 'Fate cheated him out of a safe haven' were the words of the art critic Robert Storr.
+The timing of Westermann's death was the sort of dark joke he would have appreciated. But the hodgepodge of tools and materials in the studio makes a visitor wonder whether his refuge was not meant to be the house after all, but the building of it.
+DESIGN NOTEBOOK"
+False,False,False,False,False,True,False,False,False,False,True,True,True,True,False,True,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,True,True,True,False,False,False,False,False,True,False,False,False,True,True,False,False,True,False,False,False,False,True,True,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,True,False,False,False,True,False,False,False,True,True,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,True,False,True,False,False,False,True,False,True,False,True,False,False,False,True,False,False,True,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,True,False,False,True,False,False,False,False,False,True,True,True,True,False,False,False,False,False,False,True,False,False,True,True,False,False,True,True,False,True,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,True,True,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,True,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,"Barbecue Pits for Those With Money to Burn
+SMOKE gets in their eyes -- and that's only part of the attraction. Once man cooked over an open fire in a cave. Some time later came the 1950's backyard grill, a mammoth creation etched on the landscape in brick or stone. In the 60's, more mobile chefs, or those without backyards, swore by their portable hibachis and Weber kettle grills. And then came the 80's and the portable gas-fired grills that turned summer cookery into something as romantic as, say, lighting the kitchen range.
+And now? After two decades of growth, the American economy has brought a return to the backyard barbecue. Fire-hungry homeowners who want to keep up with the Dow Joneses are moving beyond rusty iron grills to a new generation of built-ins. They want fish baskets, wood-fired pizza and bread ovens, smokers and rotisseries. They may even want a designer fire pit.
+That's because the experience of cooking over wood or charcoal is powerful. 'The mingling of the fragrances with the air, the unique quality of the smoke and the aroma of charcoal is very healing and purifying,' said Barrie Kavasch, a Native American food historian who maintains that fire is 'emotionally magnetic.'
+Whether it's done in a primitive oven in a hole in the ground or in a rooted-in-stone artisanal outdoor command post of the sort that is becoming popular today, cooking over fire is in fact booming. Steven Raichlen, author of 'The Barbecue! Bible' (Workman, 1998), says he believes that the 'grill mania' sweeping the country is a reaction to the high-tech lives people are living. 'Grilling has a timelessness about it,' he said. 'It appeals to a primal yearning for fire-cooked food.'
+In Hamilton, Mass., a seaside town north of Boston, a tall stone fireplace has a shiny stainless-steel grill and a fancy rotisserie. Its owner, Frank McClelland, a chef in Boston, lives in a new house, built a year ago, along with the outdoor hearth. 'I wanted to experience the great pleasure of cooking outside during the spring, summer and fall months,' Mr. McClelland said.
+Frank Martin, the owner of Martin Grill and Oven Works, in Providence, R.I., recently made a fish basket for Mr. McClelland that attaches to the rotisserie. Mr. Martin said that the demand for expensive outdoor cooking areas is increasing and that outdoor ovens for the home have risen to 20 percent of his business, from 5 percent five years ago.
+Alice Ross, a food historian who has taught courses in historical cookery in Smithtown, N.Y., for 20 years, noticed the change about two years ago. 'All of a sudden there was an interest specifically in building brick ovens and learning how to bake and cook in them,' Ms. Ross said. The demand was so great that she has added a course on the subject.
+When Mr. McClelland and his family moved to Hamilton from an apartment above his Boston restaurant, L'Espalier, he hired Peter Giordano, who describes himself as a muratore. (The word is Italian for mason.) Mr. Giordano, born in Palermo, Sicily, has been building with stone since he was 14. Now 53, he and his son Peter Jr., 26, built a fireplace for Mr. McClelland that is an update of a traditional design.
+The fireplace is made primarily of local field stone. The stone chimney and grill area are built on a brick base; counters and the grill are standard height, 36 inches. High-quality iron spot bricks, which cost $1.35 apiece as against 40 cents for standard bricks, was chosen. The top of the chimney is made of the same bluestone as the surrounding terrace, and a food preparation area is also made of bluestone.
+Although the design is simple and timeless, it includes modern modifications, particularly inside the fireplace. For the walls, the masons used cement blocks rather than solid stone. 'If we would have built this using the ancient method, we would have had 12- to 16-inch solid walls on both sides,' Peter Giordano Sr. said. Instead they determined that stone veneer over cement blocks would be more efficient and less expensive. Yet, the cost for the fireplace still ran about $5,000, or $35 a square foot.
+Worth it, Mr. McClelland said. 'When I cook at home, I love to let my hair down,' he said. 'The idea of coming out here when the weather is cool and roasting game or meat is fantastic.'
+In Austin, Tex., June and Mark Chandler purchased a house four years ago and found a crumbling outdoor fireplace held together by little more than ivy. They hired Gardens, a local landscape design and construction concern, to recreate and embellish an outdoor cooking area where one had been built 70 years earlier.
+Bill Bauer, an architectural designer at Gardens, was inspired by traditional Italian stone techniques to create a new oven, entertainment area, grill and terrace. He said his emphasis was on using stone the way it is supposed to be used. 'There is nothing fancy here,' he said. 'We used the simplest materials: limestone, galvanized metal and pea gravel. What this is really about it is how it is executed.'
+Using blocks of white Texas limestone measuring 24 by 12 by 6 inches, Mr. Bauer made the walls of the oven tower 12 inches thick. 'Stone is meant to be heavy and big and support itself,' he said. 'In today's world, stone is often used as a veneer. In our construction, all of our stone becomes load-bearing walls.'
+When the quarry stone arrived, it was in a rough rectangular shape; stonemasons reworked each block by hand to make certain the corners were crisp and straight.
+The limestone blocks in the Chandlers' original terrace had been pushed up by tree roots. The masons were able to recycle the blocks for the new terrace; pea gravel was used to fill in where the roots were intruding.
+The $2,500 wood-fired pizza oven the Chandlers selected came from Italy in terra-cotta sections. Although they fit together tightly, Mr. Bauer had stonemasons seal the oven entirely with a layer of cement.
+The tower that houses the oven looks like a folly sitting in a Tuscan garden. It is 10 feet high with a standing-seam metal roof. Ivy climbs its walls, and the whole thing looks as if it had been on this spot for years.
+The terrace is 30 feet square, including the area for the barbecue grill, storage cabinets and galvanized metal counter tops, which won't rust, set along a 19-foot-long limestone wall. Cabinet doors are made of teak and wire mesh. The total cost was about $38,000.
+When Donald and Virginia Sohn were renovating a 60-foot-long terrace behind their home in Beverly Farms, Mass., 'it seemed to need a fireplace,' Mrs. Sohn said. What she had in mind was quite different from what her architect, John Pears, drew for her. Mr. Pears, who was born in South Africa, presented a hybrid of several different fireplaces he had seen in Africa.
+'Particularly in Malawi, they don't do structures,' he said. 'They make a pit in the ground. Here the sunken terrace that already existed became like the pit.'
+Stone walls surrounded the area, and would provide seating. It was the congeniality of a circle around a fire that inspired Mr. Pears. 'Everyone faces inward and looks at each other across this event, while people cook together,' he explained. In the end, he adapted an African concept to fit an American life style.
+The fireplace consists of a 48-inch circular drum, built with bricks recycled from a chimney in a nearby carriage house. Firewood is stored on a bluestone cap above the drum. The firebox is a conical steel structure that contains the fire. Topping that is a 42-inch rotating steel grill. The grill gently spirals up and down, so food can be raised high when the fire is hot and lowered as it cools. Mr. Pears also designed a circular steel ledge, at counter height, to hold implements, plates and drinks.
+Custom fabrication added to the costs.  With the architect's design fee, the tab for the Sohns' grill was nearly $15,000. But it was an instant success.
+'The first party we had was in October, and the night was brisk,' Ms. Sohn said. 'As the evening drew on, the crowd sat on the walls around the fireplace.'
+Whether a fire pit, a pizza oven or a fish basket added to a fireplace well anchored to the land, the new accouterments have attracted fans of entertaining outdoors. 'If you are cooking your very chic buffalo burgers on a very chic outdoor grill,' said Ms. Kavasch, the food historian, 'they do taste better.'
+The Fire Bearers
+AN outdoor oven is usually dome-shaped and gets as hot as 600 to 700 degrees. Wood is set inside and fired up, and afterward the coals are raked out. Baking is done directly on the oven floor.
+'Correct dimensions when building an oven are critical,' said Frank Martin, owner of Martin Grill and Oven Works in Providence, R.I. 'The door height should be no more than 65 percent of the height to the top of the oven.'
+Outdoor ovens begin at $5,000. Sources for them include Mr. Martin's company, at (401) 724-1491; Peter Giordano of Gloucester, Mass., (508) 283-2793, and Gardens in Austin, Tex., (512) 467-9934.
+DESIGN NOTEBOOK"
+False,False,False,False,False,True,True,False,False,False,True,False,True,True,False,True,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,True,False,True,True,False,False,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,True,True,True,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,True,False,False,False,True,False,False,True,True,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,False,True,False,True,False,False,False,True,False,True,False,False,False,False,False,False,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,True,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,False,True,False,False,False,"Honeycombs in Flight: Office of Tomorrow?
+ANYONE who works in a cubicle knows that its shroudlike isolation bears no resemblance to real privacy. But it may come as a surprise that the people who design today's office systems agree that cubicles are long overdue for a makeover.
+'When I think about having to go to a box every day and perform a job in one of those little spaces, it doesn't seem human,' said Ross Lovegrove, a British designer who was asked by the Herman Miller company -- which introduced the precursor to the cubicle concept in the 60's -- to help give new life to the spaces where roughly 60 percent of America's white-collar work force toils.
+The system that the design team developed, which looks in part like a marauding raptor, might have been conceived for Sigourney Weaver's console in 'Aliens.' It is intended as an antidote to the piles of cables snaking around workers' feet.
+Inspired by the computer mantra 'plug and play,' it consists of components that build up from the floor, rather than cantilevering from shoulder-height panels. A slick shell of translucent honeycombed plastic, it stands on silvery birdlike legs that attach directly to floor tiles, integrating the floor into the structure and masking cables for the computer, telephone and lights.
+The approach was to think inside out. 'As we move further away from pencil and paper, the support technology needed to convey voice, power and data becomes massive,' Mr. Lovegrove said. 'The infrastructure of even 10 years ago can't handle it.' The goal was to transform the cubicle into a thing of 'lightness and grace,' he said. The system is also a lot easier to break down and reconfigure, a priority for office managers reared on notions of 'high churn' (turnover) and faced with good old downsizing.
+The 'privacy' this system will provide is open to interpretation: an assortment of ethereal cotton-spandex screens that flex like wings can be snapped in place to offer some semblance of visual and audio separation. (They look great, but will they do the trick when a colleague is ranting on the phone at a spouse?) And then there are the file boxes: stacks of perforated plastic that bear an uncanny resemblance to the milk crates that another generation used to store LP's.
+Still a prototype, the product -- known informally as Emma, after a grandmother of someone on the design team's staff -- is a collaboration between Interface Architectural Resources, a carpet manufacturer, and Herman Miller, the second largest manufacturer of office furniture in the country and no stranger to office innovation since it introduced the Action Office in 1964. Mr. Lovegrove's partner on the team was Stephen Peart, a designer who lives near San Francisco.
+The system was previewed in June at Neocon, the trade show for the commercial furniture industry. 'Everyone was buzzing around saying, 'You've got to see it,' ' said Shashi Caan, a senior designer at Gensler, an architectural interiors firm. 'Functionally, it wasn't all that new. Conceptually, it was fascinating. By simplifying all the parts and pieces and letting them be the decorations themselves, it made a really strong statement.'
+Others were most impressed by the Legolike components, which can be built up to accommodate a single worker or a team. 'It comes as close to real building blocks as I've ever seen,' said Roger Yee, editor of Contract Design, a trade magazine. 'All the parts are universal.'
+'It doesn't presume how you're going to use it,' Mr. Yee said -- whether in a traditional office with freestanding furniture or in a cubicle arrangement. He said the system 'is honest enough to say it doesn't know the shape of the office of the future.'
+But in a business bred on brown laminates, the translucent plastic -- inspired by 'the economy of such natural structures as honeycombs,' Mr. Lovegrove said -- raised the most eyebrows. Kent Gawart, a business development executive at Herman Miller, which hopes to introduce the system next year, said many people at Neocon thought the plastic 'went way beyond being viable.'
+So it's back to the drawing board for a few more embellishments -- namely a nice mahogany desktop, the kind the boss always gets.  DESIGN NOTEBOOK"
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+RUFUS FOSHEE, a ceramics dealer from Camden, Me., was talking about his display of 18th-century mocha ware -- all butterscotch bands, ice-blue stripes and polychrome polka dots -- but his words could easily be the leitmotif of the Fall Antiques Show: 'What always impresses me is its infinite variety.'
+There is much that is familiar at this year's 19th edition of the show, which opens today at the Seventh Regiment Armory on Park Avenue and 67th Street and runs through Sunday. Here, luscious creamware plates; there, fancy Hitchcock chairs. But as usual, beyond the bread-and-butter brigade lies a world of objects that will startle jaded eyes and cause jaws to drop -- and this time around, as much out of politically correct outrage as desire.
+'We'll probably be stoned,' Virginia Cave said. She and Elle Shushan, the owners of Augustus Decorative Arts in Manhattan, bravely appointed their booth with a collectible guaranteed to provoke animal rights picketers: taxidermy. And not just any kind of stuffed animals, but the perversely anthropomorphic, mid-19th-century British variety.
+In a shadow box carved like a castle's bay window, a pair of gentleman squirrels, one puffing a cheroot, sit at a table playing a game of cribbage. A stamp-size label declares the scene to be the work of a Birmingham professional of the 1860's, 'J. Lawrence, Taxidermist and Preservationist of Birds, Animals, Etc.' It is priced at $9,000. 'I like animals to have employment,' Ms. Shushan said. 'Otherwise, they're just dead and give me the creeps.'
+Creeps are in the eye of the beholder, of course. Another of Ms. Shushan and Ms. Cave's offerings is a glass dome diorama, circa 1860, depicting two frogs in a duel ($4,000). The sword of one is thrust through the chest of its opponent, the wound accented with dribbles of painted blood.
+Antismoking activists should proceed immediately to the booth of Linda and Howard Stein, where 68 smoking tables from the 1920's and 1930's are on display. A painted silhouette of a pop culture or kitsch icon -- from a life-size Airedale to turbaned Nubian boys to the battling cartoon couple Maggie and Jiggs -- holds aloft a shelf just large enough for an ashtray.
+'It's a collection I helped put together and am now helping disperse,' Mrs. Stein said on Tuesday morning, as she arranged the tables in neat rows like a photographer readying a graduating class for its yearbook picture. Prices range from $450 to thousands of dollars.
+In the category of beautifully bizarre is the 10 1/2-foot-long 'confidence decoy' being sold by Walters Benisek Art and Antiques. Don Walters jokingly called it the 'Trojan swan.' Priced at $38,500 and probably made in the Northeastern United States during the 1880's, it is a rowboat cunningly disguised as a giant white bird.
+It is a gorgeous apparition, evoking other famous swan boats, from those floating on the Boston Common to the one Mad Ludwig of Bavaria used to ply the waters of his fantastical grottoes. But those have something innocent and Disneylandish about them; the Walters Benisek version, on the other hand, has a sinister practicality.
+Ducks have learned to consider a swan a symbol of safety, Mr. Walters explained. Flying ducks would see the swan, come in for a landing and  lose their lives to the hunter camouflaged by leaves in the boat's belly.
+Another bird in the show -- equally powerful visually but minus the undercurrent of gore -- is a majestic wirework eagle with a four-foot wingspan and talons tensed ($2,495). It is offered by Greg K. Kramer, a dealer in Robesonia, Penn.
+Made in the 1920's or 30's, apparently as a ceiling ornament, the wirework is as intricate as re-embroidered lace. Its lengths of wire -- now satisfyingly rusted -- are bent into small hoops and then stacked atop one another to imitate feathers. The result is a semitransparent, three-dimensional bird that is basically calligraphy in the sky, though Mr. Kramer said it would look just as good closer to earth covered with ivy.
+Another calligraphy-spare design is the late 19th-century New England rocking horse in the booth of Ricco/ Maresca. Made of painted bent wood, the toy ($35,000), unlike the classic, hyper-realistic rocking horses in many nurseries, is barely there. Curved, thread-like links of wood provide the merest sketch of a body, while the carved head sits atop as if fixed on a pike.
+A user friendly attitude pervades the entire show, where everything seems made to be touched and enjoyed. Here, evocativeness, not perfection, is key. Purple ink stains of long ago have discolored the writing surface of Peter Tillou's prize, a circa-1760 secretary and bookcase on stand ($225,000). 'You can see that it was really used, not just looked at,' Mr. Tillou said.
+User friendly appreciation is the driving force behind a gallery that is making its Fall Antiques Show debut: Hallam & Swope, a shop specializing in 18th-century and early 19th-century furniture, European objects and early photographs, all with a neo-classical bent.
+The booth's formality of content might seem out of place here. The Fall Antiques Show is populated with oddment, after all, like an 1892 cast-iron lawn sprinkler (Richard and Eileen Dubrow, $3,500) to a collection of vintage plastic swizzle sticks arranged on plywood boards in radiant patterns recalling English country house armor exhibits (Ricco/ Maresca, $2,000). But Hallam & Swope fits with the funk just fine.
+For instance, instead of propping the booth with looming allegorical paintings and overwrought painted glass, Jonathan Hallam and Tom Swope, who live and work in Ancram, N.Y., decided to accent with hiply off-kilter works, like a golden frame holding eight images of a Bonaparte princess, each the size of a playing card. The pudgy princess is captured in a variety of poses in a Paris photography studio of the 1860's, her hoop skirt boldly bordered with an oversize Greek-key motif.
+This small, slightly comic group -- the princess looks stately but faintly bored, her prominent bosom wedged into an alarmingly tight bodice -- helps bring the furniture, all of it early 19th-century American and fairly bold in proportion, down a blessed peg. So does the booth's Gap-casual decor, which flies in the face of so many typical antiquarian displays with their elaborate wallpaper borders and expensive carpets: Hallam & Swope depends solely on pale yellow painted walls and wall-to-wall seagrass.
+'It's so younger collectors, beginning collectors, don't get afraid,' Mr. Hallam, an Englishman with the cleft chin and steely eyes of a younger Tom Selleck.
+Mr. Swope concurred. 'You don't have to get dressed up to enjoy antiques,' he said. 'Jeans are fine.'
+The Fall Antiques Show, with 70 dealers, is open today and tomorrow from 11 A.M. to 8 P.M.; on Saturday to 7 P.M., and on Sunday to 6 P.M. Tickets are $10. For information, call (212) 777-5218."
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+THE modest compound where Saddam Hussein spent his last few hours of freedom offered a curious mixture of squalor, on the one hand, and on the other a selection of domestic items that had been carefully chosen, by Mr. Hussein or someone close to him, to support a life on the run.
+American soldiers may have called the underground hiding place a rat's nest and a spider hole, but in the small house up above were countless, if chaotically arrayed, signs of civilization, even refinement. The books scattered about included Dostoyevsky's 'Crime and Punishment,' some poetry and a volume on the interpretation of dreams. The kitchen contained orange marmalade, tea, candied figs and baklava, along with shampoo that promised to keep the dictator's matted hair from drying out.
+For Iraqis and others in the Arab world, the scene must have reeked of shame: it wasn't the lack of grandeur so much as the fact that Mr. Hussein was found by American soldiers in a hole in the ground and looked up to see their boots. (In a part of the world where to show someone the soles of your shoes is an insult, this was no small matter.)
+And for a leader who was obsessed with architecture and who turned the iconography of his countless palaces into logos for his regime, the physical circumstances of his last days and his capture must have rankled. For many in the West, though, the images of that hut carried with them an entirely different set of associations. It suggested other infamous places of last resort, like Hitler's concrete bunker, the Unabomber's rustic cabin or the motel room that is a staple of movies about fugitives on the lam. Maybe it was reminiscent of the efforts by stoics, priests and others to seek out solitude and primitive conditions, in the desert or below ground, to test, reform or purify themselves. Or of Thoreau's one-room cabin on Walden Pond, built by the writer, for $28, as a place 'to front the essentials of life,' which Mr. Hussein surely found himself doing as well, if by necessity rather than choice.
+Our judgment may be dulled by the romance of the compound's agrarian simplicity, by its collection of trees heavy with fruit and by its proximity to the Tigris River. Maybe we imagined how much it might be improved with a little work. Fix the roof, replace the plastic furniture with a couple of Eames chairs and plant a manicured lawn rolling down to the river's edge, and you would have yourself a pretty good approximation of a second home in the Hudson Valley -- or maybe somewhere with a more arid climate, like Arizona or San Diego -- ready for publication in the pages of a shelter magazine. You could probably get the place, sheep pen and all, for a song.
+If that mental leap seems a bit much, consider the extent to which 'simple,' 'small' and 'rustic' have become terms of architectural endearment in America and Europe in recent years.
+Even as they continue to celebrate 15-foot ceilings and industrial-strength kitchens capable of turning out meals for 60, the design media have fully endorsed modesty and the clarifying appeal of a reduced floor plan. Sometimes they seem ready to suggest that we all pack up and move to Lilliput.
+House Beautiful now dedicates its January issue each year to the pleasures and challenges of decorating a cramped house or apartment. The stories carry headlines like 'Tiny Triumph' and 'Small on Space -- Big on Comfort.'
+And there is now a shelf's worth of books on huts and cabins and other small residences, most of them published in the last five or six years. These include 'A Hut of One's Own,' by Ann Cline; Marisa Bartolucci's 'Living Large in Small Spaces'; and 'The Not So Big House,' by Sarah Susanka.
+The modern roots of this phenomenon go back at least as far as 1753, when the Frenchman Marc-Antoine Laugier published a treatise that suggested a return to architectural first principles and included a now-famous illustration of a primitive hut fashioned from four tree trunks.
+But it has always been felt most powerfully in the United States, where Americans lurch between two extremes: the urge to acquire (or supersize) and the nagging sense that it would be better to pull back and live in a more basic, perhaps even more honest, way.
+We are now plagued by that conflict more acutely than ever. All one has to do to understand that is to see an S.U.V. parked next to a Mini Cooper, or a copy of Real Simple magazine sitting on the coffee table in a McMansion. Still, it doesn't hurt when a seemingly unrelated event in a country on the other side of the world explains the same lesson.
+Along those lines, it must mean something that the word redoubt, which so many reporters trotted out to describe the defensive and temporary nature of Mr. Hussein's compound, is so closely related to the word reduce. Redoubt comes to us indirectly from the Latin 'reductus,' a concealed place, a form of the Latin verb reducere, to withdraw. Hiding out, in other words, means cutting back. And vice versa.
+Of course, only in an exceptionally wealthy country do people have the luxury of dreaming of a stripped-down existence. In most parts of the world -- including, it seems safe to assume, among the farmhouses lining the Tigris -- the fantasies move in the other direction, from smaller to bigger, from dirt to marble.
+Indeed, evidence of that is on view just a few miles away from the hut, in the village where Mr. Hussein was born. Though he often claimed Tikrit as his hometown, his birthplace was actually a small place called Awja. In the 1980's, he leveled the village's modest houses and replaced them with several hundred new residences for his relatives and others.
+The new neighborhood, now encircled in barbed wire strung by American soldiers, formed the Iraqi equivalent of a gated community; it was symbolic of the peculiar kind of upward mobility available to those members of a totalitarian society lucky enough to possess a tie to the man in charge.
+Forget tiny triumphs and the not-so-big house. What the houses in Awja suggest, in their approximation of the American dream, is that for the Iraqis favored by Mr. Hussein, the ultimate perk was the chance to live like the enemy.
+DESIGN NOTEBOOK"
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+IN a decision that has surprised the Japanese architectural establishment, the city of Tokyo recently awarded the New York artists-turned-architects Shusaku Arakawa and Madeline Gins a special award for their plan to develop a two-phase, $7 billion housing and commercial project on approximately 75 acres of landfill in Tokyo Bay.
+The pair, who competed against several hundred design professionals in what was basically an idea contest, will now proceed to the feasibility and financing stage as technical details are developed and a consortium of developers is organized.
+For many decades, crowded Tokyo has been looking to the sea for land, and starting with the eminent Japanese architect Kenzo Tange in the 1960's, architects have speculated about occupying Tokyo Bay with sweeping utopian visions. Most of the proposals involved heroic megastructures of many stories.
+The apartment structures of Mr. Arakawa and Ms. Gins's Reversible Destiny City are five- to seven-story walk-ups that curve with the topo graphical contours of the landfill in tightly clustered neighborhoods that have the labyrinthine organization of souks and medieval towns. The artists plan to extend the topographic contours into the living units themselves -- all garden apartments -- where there will be level changes between rooms and even within the same room. 'No floors, only terrains,' Ms. Gins said.
+When the design was exhibited at the downtown Guggenheim SoHo in 1997, Roberta Smith, art critic for The New York Times, wrote: 'The main weakness with the architectural works is simply that Arakawa and Ms. Gins give little indication of how their layered, artificial landscapes and fractured, convoluted buildings, which keep people in a state of constant disequilibrium and unbalance, would actually work on a day-to-day basis.'
+Kei Minohara, a Tokyo planner who chaired the selection jury, explained that 'the municipal government has not committed to making this a reality because it's a very conceptual project so far that has to be made practicable, to conform to technical and legal standards.'
+Mr. Minohara added: 'But it has a chance of being built, and I hope it is. The quality and depth of the project are unusual. The modernist city conceived by architects like Le Corbusier wasn't very popular, and some planners are returning to traditional cities, but this landscape scheme is a new prototype, that's for sure.'
+The controversial proposal, which the designers said could mean approximately 6,000 units built in a five-year period, recalls such famous gardens of delight and quandary as the Italian Renaissance estate of Bomarzo (built with a leaning tower and a grotesque edifice with a gaping mouth). Scrolling atop a skein of roadways, streets and parking, which Mr. Arakawa says will be configured like a theater, the lush terrain is both naturalistic and eerily artificial -- very hilly, but layered, with tilted and sloped strata of walkways, building sites and outdoor spaces. Units in the middle- to high-income project may be rented.
+Though unfamiliar with the details of the proposed project, Takashi Hashimoto, a financial analyst and real estate specialist in the Tokyo office of Salomon Smith Barney, said there was generally a demand for high-quality rental housing in Tokyo, and that such a substantial number of units could be absorbed by the market if built in stages.
+Mr. Arakawa and Ms. Gins have dealt in environmental experiments for several decades, building gallery installations that address the perceptual issues of how the eye and body see and make sense of the world. An elliptically shaped sunken park, featuring a house based on contradictory curved and straight mazes, was completed in 1995 in the Japanese town of Yoro. The hiking shoes and helmets required for the topographically difficult terrain, and the occasional broken bone, seem not to have deterred the thousands of curiosity seekers each day who scramble across what amounts to a mountainous 'exploratorium' of curved and warped surfaces.
+The designers said they wanted to provoke by breaking quotidian habits formed in a world of flat surfaces and right angles. Mr. Arakawa said, 'The design may become a way of studying how architecture determines our thought and behavior.'
+Ms. Gins, his wife and artistic partner, added: 'We've learned from watching people at Yoro, and we don't have to make any points about disturbing people's equilibrium in the Tokyo project -- we don't want anybody to be wearing helmets in our housing. In the apartments, there will be different degrees of challenge so people can decide how reversible a destiny they want.'
+Reversible destiny? She explained, 'We don't have to be passive to events; we can reverse the usual downhill course of things.'"
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+WITH spring comes the sound of bat on ball. The crack of a wooden bat is one of the great evocative American sounds. But today only the pros play with wooden bats. High-tech metal models dominate amateur ranks, lending the national pastime a strangely split personality.
+As a symbol of the national game, wooden bats may represent the way Americans like to think of themselves, but the metal bat may be a more accurate reflection of the country now. On Saturday, as if to acknowledge how far baseball and baseball bats have both come, the American Museum of Natural History will open 'Baseball as America,' featuring several bats, including those used by Roger Maris and Mark McGwire to break home run records. Seeing a baseball bat in a museum places it in the same context as a chieftain's war club or a king's scepter.
+The ping of metal is often accompanied by another all-American sound: marketing hyperbole. 'It's more than a bat, it's a launching pad,' boasts one advertisement for the DeMarini Ultimate Weapon Extreme model. Bat names include B-52 and Viper, and advertising copy about alloy types make bats sound like bombers and fighters. The images of layers and pressure capsules on Web sites and in catalogs are worthy of designers of nuclear bombs. And while wooden bats once bore only the stamped signature of a favorite slugger, metal bats buzz with graphics borrowed from skateboarding and BMX bicycles.
+Unlike wooden bats, aluminum bats, which are hollow, have trampoline effects: their walls deflect and spring back when they strike the ball, imparting velocity to the ball like a racquet. For years, bat makers have tried to outdo one another with claims of better power and performance. 'Fiber metal wrapped over cryogenically treated form,' one advertisement insists. Another claims 'titanium inner core.' The ads refer to moment of inertia, coefficient of restitution, departure velocity. Perhaps the terms are a clever scheme to get student athletes to learn physics.
+Today, titanium and carbon fiber have joined aluminum as bat-making materials. These high-tech bats have produced real changes in the game. Their larger sweet spot, and what baseball coaches call the more forgiving nature of the aluminum bat, can make average hitters great ones.
+The exit speed, or velocity at which a ball flies off the bat, has increased as bat technology has advanced, leading to fears that aluminum bats are dangerous to fielders,  especially to pitchers. A major league hitter might hit a ball so effectively that it flies off a wooden bat at 95 miles an hour, giving the pitcher less than half a second to react. Balls struck by metal bats have been clocked at well over 120 m.p.h.
+It was the cost of wooden bats, which increased as the ash forests of North America declined, that led to the introduction of relatively cheap aluminum bats in 1974. Aluminum bats, whose basic models run $100 or so, rarely break, while a college team would go through more than 350 wooden bats in a season. Some high-tech metal bats sell for as much as $500.
+But the increasing power of metal bats led to criticism. After years of debate, this season begins with regulations at almost every level of baseball and softball. Controlling bat size and performance, the rules are in part a response to concerns about safety. Jack MacKay, of Mount Pleasant, Tex., who formerly designed metal bats for Hillerich & Bradsby, maker of the Louisville Slugger model, but is now a critic, said, 'I started to see kids getting hurt.' He cited injuries to pitchers struck by balls hit off aluminum bats. (A study published last year in The Physician and Sportsmedicine Journal concluded that bats were not a significant factor in Little League injuries.)
+Some coaches are more worried about the threat metal bats pose to the balance of the game. A symbolic turning point came on June 6, 1998, when Southern California and Arizona State played a 21-14 game at the College World Series in Omaha, Neb. Since aluminum bats were adopted in 1974, batting averages in college baseball have risen from around .266 to just over .300. The bat makers' claims of extra power seem confirmed by a 54 percent increase in home runs since 1994.
+The National Collegiate Athletic Association and the National Federation of High School Coaches ban bats that produce exit speeds above 95 m.p.h. Other rules govern the so-called length-to-weight differential, which affects hitters seeking additional performance with a lighter bat.
+Bat makers wield considerable power in college baseball because they supply teams with free bats and also have endorsement contracts with teams and coaches. The manufacturers are reshaping their design and marketing to deal with the new regulations. New shapes shift the center of balance so that the bat can be swung faster. New designs like triple-shelled bats provide extra power within the new rules. With metal bats evolving as fast as the rules governing them, wooden bats are now venerated relics, said Vince Malta, a San Francisco collector and bat expert who advises the Baseball Hall of Fame. 'Bats are the most collectible thing in baseball because they bring you close to the game,' Mr. Malta said. 'A bat says a lot about the player who used it and the places it was used.'
+Mr. Malta owns a 1964 Mickey Mantle World Series bat that he can describe with forensic specificity: 'Mantle tarred his bat a certain way. The bat bears marks of the turquoise blue paint of Yankee Stadium's bat rack and the red of the bat rack of their opponents, the St. Louis Cardinals.'
+The record price for a bat, $577,610, came this year for one that Shoeless Joe Jackson, a figure in the infamous Black Sox scandal,  used for most of his career, even after it warped into a banana shape.
+One day metal bat makers will try to persuade the major leagues to give up wood. 'I wouldn't be in favor of it,' Mr. Malta said. 'Pitchers might be killed.'
+Some coaches say the solution is to build a metal bat that works like a wooden one. But could it ever sound as sweet?
+DESIGN NOTEBOOK"
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+THERE are the Do It Yourself-ers in renovation stories, and then there are the I Did It My Way-ers. Vincent Sgarlato has kind of single-handedly created the second category.
+Last year, Mr. Sgarlato opened the Summit, a lounge and restaurant at 308 East 49th Street. He worked with an architect, Glen Coben, and the design brief was brief.
+Sinatra.
+The Summit is an evocation of Frank Sinatra's life and times through his 'homes,' as Mr. Sgarlato explained it: his compound in Palm Springs, Calif.; Puccini's, his favorite restaurant in Hollywood; and the Sands Hotel and Casino in Las Vegas, where Sinatra held his legendary Summit concerts with the Rat Pack.
+Mr. Sgarlato, 44, became Sinatra-centric at age 10, growing up in Bay Ridge, Brooklyn. He saw Sinatra perform 17 or 18 times, by his count. He can reference any point of the entertainer's 60-year career as quickly as shooting a cuff.
+'I became a student of Sinatra,' Mr. Sgarlato said academically.
+Hit it.
+'But, you . . . got . . . to . . . have . . . it . . . in you,' he added. 'I love it. I bleed it.'
+Mr. Sgarlato, dressed in a fitted, striped dress shirt that his parents brought him from a trip to Italy, jeans and stylish tan shoes, was standing at the fieldstone bar at the Summit last week, opposite a living-room-like lounge with a fieldstone fireplace.
+'Actual brick, no fake stuff,' he said. 'We brought in an old man from the Bronx to do it, piece by piece; it was a cement mess.' Mr. Sgarlato uses his hands in broad gestures, always keeping one close, as if it's got a mike in it. There is a warm, club singer's hoarseness to his voice.
+A few ground rules in Mr. Sgarlato's establishment. Don't say Rat Pack.
+'He never liked the name Rat Pack,' Mr. Sgarlato said, protective as a bodyguard. (You learn right away that 'he' is only ever one person when you talk to Mr. Sgarlato.) 'He never really used it. He changed it to the Summit, when they got together, in the early 60's. The Kennedys had their summit meetings, you know, so he'd say, 'They have their summit meetings, and we hold ours -- here, at the Sands.' '
+Mr. Sgarlato's Summit, named for Sinatra's, has a street sign modeled after the Sands marquee. The entrance hall has an exposed trellis joistwork ceiling, painted blue between the beams.
+'Joists were used typically by John Lautner and other Palm Springs architects,' said Mr. Coben, who recently completed Riingo, Marcus Samuelsson's restaurant on East 45th Street, and is currently working on the new Mario Batali restaurant, Il Posto. 'The blue replicates the beautiful blue Palm Springs sky.'
+Also replicated, in the dining room at the back of the Summit, is a wraparound view of the San Jacinto Mountains, which would have been Sinatra's from his second Palm Springs house, on the 17th fairway at the Tamarisk Country Club. Mr. Coben found a photograph at Getty Images, and he had it developed by a wallpaper company into a mural -- SinatraScope.
+The dining room ceiling has a lighted circular inset with a set of three George Nelson bubble lamps hanging above a circular table, similar to the setup of Sinatra's table at Puccini's. In the lounge and bar, ashlar, or rectangularly cut stone, also recalls the interior architecture of Palm Springs in its heyday in the 1940's, 50's and 60's, when Albert Frey and others designed and built there and celebrities like Sinatra and Bob Hope colonized it. Rather than using reproductions, Mr. Coben specified fabrics and furniture reminiscent of the midcentury modern period: low corner sofas, drum-shaped upholstered stools, an end table with a glazed-ceramic table lamp and a contemporary wall clock above the fireplace.
+'It's a little bit of smoke and mirrors,' Mr. Coben said. 'It's about creating the illusion of the environments -- transporting someone in New York to a different place and time.'
+Mr. Sgarlato, taking the phone and handling front door deliveries while he talked, put it in different words.
+'I have a vision,' he said, looking beyond my shoulder. 'My vision was always the night-life era, the 60's. People come out, they get a table, they see a show, like the Copa.' (That is as in Copacabana, part of Mr. Sgarlato's shorthand for what is most excellent in human achievement.)
+'So I says, 'How can I incorporate everything I like into one room?' Obviously, Sinatra's the focal point. Thus, you have. . . .' Mr. Sgarlato was off on another medley of orchestrated design details: the nailhead velvet dining chairs, the animal-print rugs, the cedar rec-room paneling, the wood strips that punctuate the mural so that you think you're in a sunroom, wearing a cardigan and a porkpie hat, looking out. The curved tilt-a-whirl banquette at one end of the dining room is what he called the Dean Martin touch.
+'A very Vegasy booth; very much a Dean Martin-type booth,' Mr. Sgarlato said.
+The Summit's other Frank is Lloyd Wright. The clock above the fireplace, an Umbra design that recalls George Nelson's clock designs, is a reference to the modernist house set in Hitchcock's 'North by Northwest.'
+Mr. Sgarlato's only departure from Sinatra's scheme is the color orange.
+'He was an orange freak,' he said. 'He loved orange -- his jet was orange, orange sweaters; he wore an orange handkerchief. So a lot of his house had a lot of orange.'
+Like Barbara Marks, Sinatra's second wife, Mr. Sgarlato changed that.
+'You know, she did things,' he said sheepishly.
+Mr. Sgarlato is letting the domestic effect settle in and grow, as it would in a home. Photographs are going up in the entrance hall -- a gallery of Sinatra moments, and Summit moments. Mr. Sgarlato has his own fans, like Eugene Levy, the actor, and the 'Sopranos' cast, and players 'from the day,' from Tommy Dorsey band members who worked with Sinatra when he was new, to the radio D.J.s like Jim Lowe, who spun him through his late hits, like 'My Way' and 'New York, New York.' The Summit itself has shows: a singer at a piano in the lounge on Wednesdays through Saturdays, without a cover charge, and a schedule of larger acts in the dining room.
+On Oct 13, 1974, 'I went really crazy crazy about Sinatra,' Mr. Sgarlato said. 'He did the 'Main Event' at Madison Square Garden, and my father and my mother got tickets that day. A friend of theirs knew someone at the Garden, so three couples went. My father says, 'I'm going to see Sinatra tonight. It's on TV -- watch it, Channel 7.' '
+Mr. Sgarlato watched it.
+A long wind-up from Howard Cosell, 'then Sinatra came on,' Mr. Sgarlato said, slapping his hands hard. 'In front of the Garden, just himself in, like, a ring. I could realize the power that he had, how he controlled like 20,000 people, up there in a tux, going at it. He was an individual -- he wasn't even like a group, like the Rolling Stones or whatever.'
+The die was cast.
+'He's controversial, he's powerful, he's moody, he's a little bit of everything,' Mr. Sgarlato said. 'It was a tremendous life. He's a figure that gives me a hell of a lot to work with. He was not a boring character.'
+Yes, Mr. Sgarlato met Sinatra.
+'Here's what I was afraid of,' he said, speaking softly. Mr. Sgarlato and his wife, Beth Mumm-Sgarlato, were dead-center in the front row for the Together Again tour in 1987.
+'I was afraid that he'd be nasty to me,' Mr. Sgarlato said. 'He could be the greatest guy in the world, but I know he could be nasty.' (Sinatra's famous trespassing sign at Palm Springs read: 'Forget the dog. Beware of the owner.')
+When Sinatra took applause and roses after his last number, Mr. Sgarlato made his move.
+'I see him, I get up and put my hand out, he comes directly towards me, bent down, he says, 'Certainly, young fellow,' shakes my hand,' he said. 'I was all dread, and it was good! It was good for me.'
+A.J. Azzarto, a musician and producer and Nancy Sinatra's daughter, has visited the Summit, and signed off, Mr. Sgarlato explained.
+'I was sweating bullets the day she was in here,' he said. 'She said, 'It looks very much like my grandfather's home.' Phew. I was very happy about that.'
+It could have been, 'Take it from the top.'
+Design Notebook
+Correction:  May 20, 2004, Thursday  An article last Thursday about the Summit, a Manhattan restaurant with décor based on the various homes of Frank Sinatra, referred incorrectly to one of his wives and misspelled the surname she used before their marriage. She was Barbara Marx (now Barbara Marx Sinatra), not Marks, and she was his fourth wife, not his second. (The first three were Nancy Barbato, Ava Gardner and Mia Farrow.)"
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+BLENDERS whirred all day in the Rowe Furniture showroom at the International Home Furnishings Market, which opened here on Oct. 15 and ran through last Friday. Behind an antique bar, young assistants in white jackets whipped up fresh fruit smoothies for the buyers shopping Rowe's line of mid-priced furniture. Come 5 P.M., however, a glowing neon olive in an oversize cocktail glass signaled that Rowe was shaking up martinis.
+It was that kind of market: plenty of sensible high-fiber furniture, but with a surprise serving of swank, expressed in silver-plated drawer pulls at Henredon, fake-fur upholstery at Fendi and an Art Moderne-style coffee table in polished goatskin at Ralph Lauren. 'People are looking for better goods,' Rob Pitt, head buyer for Crate and Barrel, said. 'Or at least the perception of better goods.'
+Throughout the eight-million-square-foot market, the world's largest furniture exposition, 'relaxed comfort' -- the mantra of recent years -- was dressed up and recast as self-indulgent luxury, inspired by everything from 1930's Hollywood to the new popularity of cashmere in apparel. 'It's the times,' the designer Larry Laslo said. 'Glamour makes you feel desirable, successful and on top of the world.' And with luck, cushioned against the economic storm clouds darkening other segments of the global economy.
+But for now, furniture buyers and sellers had reason to feel on top of the world. Under nearly flawless autumn skies, the estimated 71,500 market visitors basked in what the trade newspaper Furniture Today calculated was the strongest business climate since the mid-80's, with furniture shipments 14 percent ahead of this time last year. With interest rates falling, housing starts and home sales strong, low unemployment, rising household income and a baby boom generation just coming into its inheritance, industry analysts were expecting the good times to roll well into 1999.
+In fact, the new glamour looked a lot like the old cocoon, dressed in silkworm fantasies. Clubby leather chairs, recliners that didn't look like recliners and sleek Art Moderne armoires had a lot more to do with staying home than stepping out.
+Glamour had its own practical logic. Mindful that an economic slowdown was only a matter of time, manufacturers sought to move furniture into the nearly recession-proof realm of luxury goods. 'Luxury goods manufacturers are doing fabulously well right now,' said Chris Plasman, president of Baker, who will bring out leather furniture in January licensed by Coach.
+High-profile retailers like Crate and Barrel and Pottery Barn were also credited with accelerating the trend toward luxury goods, if only by reaction. Pushed by their success, many mid-priced furniture manufacturers have cleaned up their acts, adding Shaker-esque contemporary collections to their more traditional lineups. Even Sears is seeking to shed its dowdy image with contemporary leather upholstery from Natuzzi.
+'Smooth and sleek isn't news anymore. People are beginning to look for a little more craftsmanship,' said Diane Granda, design director for John Widdicomb, which introduced a collection of high-style Georgian and Regency furniture inspired by British museum pieces.
+Some exhibitors tried to stir up a little excitement by hitching their products to well-known names. Thomasville Furniture executives in neatly pressed safari jackets conducted tours around the 96-piece collection of licensed Ernest Hemingway furniture (the most unlikely entry: an armchair upholstered in fabric printed with manuscript pages of 'The Sun Also Rises'). Models flown in from Dallas vogued around the American Drew showroom, where the surprisingly sedate Bob Mackie collection of mid-priced rococo-style furniture was introduced.
+But the real news was generated by some old market hands. Barbara Barry, whose first Art Deco-esque collection for Baker had its debut in 1996, added about 35 pieces, most prominently in a glossy off-white enamel finish. At John Widdicomb, Mr. Laslo added eight pieces to his Moderne Collection in mahogany, wenge and sycamore. Henredon, no stranger to excess, upped the glamour quotient with Circa 2000, a pastiche of Art Moderne and Hollywood fantasy in maple and silver leaf.
+Manufacturers tried to distance themselves from the glitzy 80's opulence that Michael Delgaudio, vice president at Century, called 'swag and gag.' Quiet but tactile was the byword. Baker, for instance, showcased Ms. Barry's new pieces in a boudoir vignette, using a writing desk as a dressing table complete with silver tray, love note and Chanel No. 5.
+Even Mitchell Gold, which has staked a solid claim in the middle of the market, introduced a new Platinum collection of plushy furniture cushioned in goose down and priced around $2,500 for an 88-inch sofa. 'Furniture has to compete against all those other luxury goods for the consumer's dollar,' said Bob Williams, Mitchell Gold's design director, 'and it better be luxurious.'
+In upholstered furniture, luxury was widely interpreted as 'soft modern' -- tight upholstery, tailored slipcovers and exposed legs. At Mitchell Gold, the reigning prince of squashy comfort, oversize slipcovers were banished to the back of the showroom. In many showrooms, chairs and sofas broke out of the rectangle into polymorphic, organic shapes. Vladimir Kagan designed a three-level sofa, Dot.com, for American Leather. At Dellarobbia, an amoeba-shaped ottoman was upholstered in a fabric inspired by old Spirograph designs. Karel McKinney, national sales and marketing director for Dellarobbia, said: 'The Pottery Barn look? Been there, done that. Our customer wants more.'
+DESIGN NOTEBOOK"
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+PAUL RUDOLPH and Aldo Rossi, two giants of 20th-century architecture, died in 1997. Rudolph and Rossi belonged to different generations. They were of different nationalities. Esthetically, their work was poles apart.
+But the careers of these two men traced a similar arc through time. Both endured a blazing moment of commanding influence. Then, the moment passed. For a time, in the 1960's, it was Rudolph, Rudolph, Rudolph. Ten years later, it was Rossi, Rossi, Rossi. After that, the void.
+The ebbing of these two architects' public stature is a part of the legacy each left behind. The trajectories of their careers illuminate the ongoing crisis in evaluation that has enlivened and deformed architecture for the last half-century. Was their later work really so bad? Was their early work overvalued? Why do we sacrifice artists who reach for transcendence from within a material world? Or do they immolate themselves?
+In the mid-1960's, Rudolph was the man to watch. Of all American architects living at that time, only Louis I. Kahn was held in higher esteem.  Born in 1918, Rudolph established his reputation with a series of small houses in Florida. The best of these, never built, he called the Open and Shut House. A variation on California's seminal Case Study dwellings of the postwar years, the Open and Shut house was one of the first designs to inject psychology into modern architecture's rigorously rational and objective state of mind. A three-dimensional frame fitted with shades, the house was a study in the relationship between voyeurism and exhibitionism. Who's looking? Who's showing off? It depends on your point of view.
+In 1957, Rudolph became dean of Yale University's School of Art and Architecture, a position he held until 1965. In those years, Yale was the most advanced patron of architecture in the United States. The campus was studded with buildings by Kahn, Eero Saarinen, Gordon Bunshaft and Kevin Roche. Two of Rudolph's buildings enhanced the school's reputation. His Temple Street parking garage, a dynamic horizontal composition of concrete, was the first design since Frank Lloyd Wright's that sought to create a place of dignity for the car. Rudolph's Art and Architecture Building, also of concrete, was esteemed for the striking contrast between its aggressive, Brutalist exterior and the deftly modulated flow of its interiors.
+Now, if you happened to be the best and brightest architect in the United States in the mid-1960's, then it went without saying that you were the greatest in the world. It was taken for granted in the postwar decades that the torch of creativity had passed from Europe to the United States. Progressive American architects illustrated this passage by freely cribbing from European precedent. Hence, Rudolph's parking garage owed a clear debt to the German Expressionist Erich Mendelsohn. His Art and Architecture Building was an almighty hallelujah to Le Corbusier.
+But Rudolph borrowed something much weightier than European forms. He borrowed historicism, the 19th-century idea that each era should forge its own style of design. Then, while still a young man, he watched his reputation crumble beneath the collapse of that idea. Who says that a period has to have a style? Why must there be these rules? About function, about structure, about whatever. By 1968, the modern movement's statements had grown stale.  The future belonged to those who were asking those questions.
+As the post-modern movement gathered momentum -- Yale was one of the movement's engines -- Rudolph gradually withdrew from the scene. He continued to build major projects, mostly in Southeast Asia, that attracted dwindling attention in the press. Yet, a few years ago, at a lecture at the Cooper-Hewitt Museum, he drew a large audience of quite young architects who clearly esteemed his work as a principled way of building.
+ROSSI, born in Milan in 1931, was modernism's most thoughtful questioner.  His first book, 'The Architecture of the City,' was published in 1966, the year Robert Venturi's 'Complexity and Contradiction in Architecture' also appeared. Rossi's book had less immediate impact. But it was by far the more poetic performance. In place of historicism, he proposed memory as architecture's guiding idea. Brilliant. Why hadn't anyone thought of that before? Forget about Rome, Paris, Athens, and Luxor. What matters, instead, are the images of these hallowed places that we hold within our minds.
+Rossi personalized the past. He liked to say that he never invented forms. Rather, he remembered them. The city, in his view, was a theater, a playhouse for collective memory. One of Rossi's first major projects, the Cemetery of San Cataldo in Modena, Italy (1971-84), translated this deeply emotional idea into stark physical reality. As much a work of landscape and city planning as of architectural design, the cemetery's low perimeter buildings enclose a courtyard; near the entrance there rises the ossuary, a stark red cube studded with a grid of square, windowless openings that stare out like empty sockets, proclaiming that architecture's meaning lay not with the future, but with the past. It treated dead people and dead forms as sentient beings. They did not take history to their graves, but rather commanded time from their graves. It mocked progress, historicism's vulgar offshoot, with the grinning skull of death.
+Then came the floating Teatro del Mondo, a feature of the 1980 Venice Biennale. A wooden octagon mounted on a barge, the theater became Rossi's signature work, an essay in severity and evanescence. The base of the tower was of natural wood, which appeared golden in the Venetian light. The top was painted sky blue and capped with a jaunty little finial. The theater was moored in the lagoon, a site described by Rossi as 'a place where architecture ended and the world of the imagination or even the irrational began.'
+These early projects were visually austere, but not in the functionalist manner of modernism. Rather, he used a limited vocabulary of iconic forms -- the gable, the square Roman window, the staircase, the colonnade -- to create symbolically primitive shelters. The Marxist critics who dominated Italy's architectural discourse adored Rossi's esthetic asceticism. And he won the respect of others, like myself, who believed that classicism had not played itself out.
+IN the mid-1980's, Rossi's work became increasingly ornate. His buildings adorned themselves with alarming polychromy. Their roof lines sprouted exaggerated cornices. Columns turned into kitsch colonnades. Rossi created some wonderful projects in this time: Centro Torri, his shopping center outside Milan, is one of the century's great works. Like Rudolph's parking garage, it embodies the belief that even stridently anti-urban ways of life are entitled to urban forms of dignity.
+And then Rossi went deeper into his obsession with blue. Volare. Nel blu dipinto di blu. In renderings of his later work, buildings often came to seem like simple excuses for backgrounds of sky blue. It was as if, after dragging us down to the ashen underworld, Rossi wished to give us a taste of resurrection.
+But Rossi also pumped out many cloddish designs. The UNY shopping center in Nagoya, Japan. The Disney office complex in Orlando, Florida. These and many other late projects got very cutesy-wutesy: primary colors, kindergarten block shapes. It seemed like a case of deliberate regression, to use the author Robert Harbison's phrase. Instead of the haunting quality of memory, Rossi's architecture now came coated in saccharine layers of nostalgia.
+The Yale architectural historian Vincent Scully once wrote that Rudolph represented that side of the American consciousness that is always trying to find and to identify the self. Rossi represented something similar. Both men were basically introverts who managed to flourish in an extrovert's profession. Probably what counted most to both was constructing their own worlds, not occupying the center stage in ours. And they worked at a time when architecture was withdrawing from the modern goal of redesigning the world.
+In the epigraph to his 'Scientific Autobiography,' published in 1981, Rossi writes appreciatively of 'the disorder of things, if limited and somehow honest.' But what then, he asks, could an architect, a maker of order, aspire to? 'Certainly to small things, having seen that the possibility of great ones was historically precluded.'
+DESIGN NOTEBOOK"
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+BUILT in the 1920's, the cute-as-a-button bungalow was a portrait of modesty, hidden behind a thicket of ficus and a set of skyscraping palms. But Marianna Boctor and Jose Fontiveros, young architects at the Santa Monica firm of Sintesi, aspired to literature when they remodeled the house's tiny kitchen and living room.
+'We were trying to see what magical realism might mean in a building,' said Mr. Fontiveros, a Venezuelan steeped in South America's version of Surrealism. 'We thought about superimposing two different worlds to build a new, slightly strange reality.'
+The owners, Linnea Mielcarek, a clothing designer, and John Howley, an animation artist, wanted the architects to take freedoms within the otherwise prosaic commission of merging a kitchen and living room into a loftlike space open to a new backyard deck. 'We mentioned that we liked skewed angles, the warmth of wood, and industrial materials like galvanized sheet metal, steel and concrete,' Ms. Mielcarek said.
+But the tight $30,000 budget risked tipping the job more toward realism than magic until the architects realized that Los Angeles's nonunionized, second economy of inexpensive immigrant craftsmen could be enlisted to keep the helium in their dream.
+The architects began by designing with shadows. Recalling Modernist pergolas of the 1930's and 40's, which cast abstract zebra shadows on blank walls, they conceived light as a moving pattern projected through a skylight. The outline of the composite shadow would serve as a template for cutting out windows in the rear facade overlooking the backyard and in a ceiling opening over the kitchen.
+'We wanted to materialize the shadows and light by cutting out their pattern in the flesh and bones of the house,' Ms. Boctor said.
+In addition to using light and shadow as an angular pattern, the architects called for hard-edged materials and factory objects to add grit to the inside of the diminutive, 800-square-foot clapboard cottage. From an industrial catalog they bought a pivoting steel assembly-line stool for the kitchen; they powder-coated the gas heater a metallic auto-body gray. Exterior halogen floodlights among the joists light a roof structure normally hidden from view. The industrial elements create an altered reality in the domestic landscape.
+But there was sticker shock when the bids came in. 'One was $46,000, and another $80,000,' Ms. Boctor said. 'We threw them in the garbage because we thought our clients would freak out.'
+To realize the ideas in their blueprints, the architects became contractors, organizing a team of subcontractors from Los Angeles's labor pool of first-generation immigrants fresh from LAX. Bulgarian welders fabricated the canopy over the deck, a complex topography of planes. The architects persuaded a Salvadoran who had worked on concrete skyscrapers and had experience with smooth-trowel finish to direct work on the concrete forms for the kitchen counters.
+'We had to watch that the wooden concrete forms wouldn't bulge under the weight of the concrete, leaving fattened shapes,' Mr. Fontiveros said.
+The architects, recent graduates of the architecture school at the University of California at Los Angeles, were willing to act as contractors because of the opportunity to see one of their first designs built as a partnership. While the work was going on, the owners lived in a barnlike studio in back, barbecuing TV dinners on the lawn (without the TV), near a clump of 16-foot-tall papyrus.
+The budget continued to be the mother of invention. The architects inherited sheets of transparent acrylic from a bank being renovated. After sandblasting them, they suspended the translucent planes from the ceiling, under lights, as shelves for glasses. 'I cut it with a jigsaw,' said Mr. Fontiveros, who shaped the pieces to echo the cutout skylights.
+The budget didn't even allow for suitable cabinets from Ikea, so the designers adapted galvanized metal ducts. The six kitchen cabinets, all with plywood fronts, were fabricated for $1,500 in a sheet-metal shop specializing in air-conditioning ducts.
+One cabinet, with a butcher-block top, travels around on rubber casters, serving as a small moving island and buffet table. Little by little, the architects layered natural woods and industrial materials atop each other, creating a new reality of unexpected bedfellows. 'The job ended up costing $41,000, but it was still a good deal given the custom nature of the work,' Ms. Boctor said.
+At a certain point, out of the blue, absenteeism struck the construction site: the craftsmen disappeared as Los Angeles's diversity stopped the project. 'Everybody refused to work during the world soccer championships,' said Mr. Fontiveros, who got the building going again by applying cultural anthropology. 'They all showed up again when we brought in a television.'
+DESIGN NOTEBOOK"
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+THE world is a beautiful place, and it's never more beautiful than when you think you see an opportunity. Frank Yang saw one three years ago when he surveyed the lucrative universe of the residential kitchen and realized that there were a few holes in the sky.
+The biggest was the garbage can. It lived under the sink, unloved, undesigned, plastic or worse. Even the celebrated few, like Garbino, designed by Karim Rashid for Umbra, were miserably cheap -- they usually hit a polypropylene ceiling of $10 or $15. The kitchen was the most remodeled room of the house: according to the 2000 census, an $8 billion paradise of improvement. You had your Viking range, your Sub-Zero refrigerator, your Miele dishwasher, your Boffis and your Bosches.
+But the culmination of the Epicurean experience was an ugly dead end, a throwaway. The garbage can. An open pit of unactualized, unprofitized desire.
+Mr. Yang, 32, is the founder and chief operating officer of Simplehuman, a 17-month-old company based in Los Angeles.
+Simplehuman's principal products, stainless steel kitchen garbage cans, cost $39.99 to $179.99 and have 5- to 10-year warranties. Simplehuman's designs have won awards, including the Industrial Designers Society of America's silver and bronze awards. They are sold next to the $1,999 coffee makers and $299.95 toasters by retailers like Williams-Sonoma, which will feature Simplehuman's garbage cans in a two-page display, with an editorial paean to the company, in the fall catalog.
+In short, they are receptacles for cash as well as trash. With sales of $33 million last year, Simplehuman is projecting sales of $55 million for 2004.
+Mr. Yang is not alone. Two European companies, Leifheit and Brabantia, make versions of what the housewares industry now calls 'upscale trash cans.' OXO International, the Good Grips kitchen utensil company, introduced a trash can in March, to arrive in stores in September.
+'It's a new challenge, a moment of truth for this type of product,' said Ravi Sawhney, the founder of RKS Design in Thousand Oaks, Calif., and the head juror for the 2004 Industrial Designers Society of America awards. 'I have mixed feelings about it. How rich can you make the experience of putting trash in a receptacle?'
+Mr. Sawhney explained that consumers appreciative of design were now appreciably cynical about its much-heralded pervasiveness.
+'Imagine going in for surgery,' he said. 'And the surgery room is highly designed -- Philippe Starck -- beautiful. I would never in a million years allow them to do surgery on me. I would be so skeptical about a lack of substance, from all those highly designed knickknacks in my kitchen.'
+Mr. Yang, speaking from Hong Kong, where he was attending a brother's wedding, said that he walked the aisles at stores like Bed Bath & Beyond, where his garbage cans now reign supreme, comparing the large shelf-space allotment with the lack of exciting designs.
+'There was an opportunity for innovation,' he said. 'It's easier to get people excited about the latest cellphone. But everyone needs a trash can.'
+Mr. Yang has revived the fashion for step cans, garbage cans with foot pedals that raise the lids. Simplehuman's lids occasionally do fancy things like open in the middle in a double-winged butterfly motion instead of the classic lopsided pop-up -- the stand-up routine of the kitchen.
+In other words, you can drive the cans for pleasure. No pedestrian thump and dump, but zero to trash in one Italian-moccasined second. The lids have dampers on the springs so they close slowly and softly, like an expensive car door. You can buy gloves, Simplehuman's microfiber sponge mitt, to polish the cans ($4.99), and special garbage bags ($3.99 to $6.99 for a roll of 20). The cans do not accommodate standard bags without an 'overhang' out the top. (Your new can's instructions include a kind of napkin-folding lesson on how to avoid the overhang; the instructions were probably the first thing you used the new can to discard.)
+Rubbermaid, which estimates that there are $15 million to $20 million worth of plastic step cans sold every year, at $15 to $20 apiece, is investigating the 'stainless option,' said Doug Thompson, senior product manager, because of the current trend.
+Alex Lee, president of OXO International, explained of his move into trash: 'We look for pet peeves in existing products. Most cans are geared to the way they look -- beautiful stainless steel and a plastic bag sticking out the side.' Asked whether OXO appeared to be reinventing the wheel three years after Simplehuman reinvented it, Mr. Lee replied, 'I don't think they've addressed all the problems.'
+But with an aggressive brand-awareness campaign that includes development with companies like Williams-Sonoma, Simplehuman has its patented foot pedal pushed to the floor.
+'They've been very successful from a market penetration standpoint,' said Perry Reynolds, the vice president for marketing and trade development for the International Housewares Association, a trade organization in Rosemont, Ill.
+Mr. Yang's family is in the housewares business and owns factories in Taiwan and mainland China that manufacture Simplehuman products. Mr. Yang, a political science student at the University of California, Los Angeles, who graduated in 1994, dated a design major and took a design class, which led to an interest in designing housewares. He started CanWorks, his first garbage can company, in 2001.
+With the help of NameLab Inc., a San Francisco-based communications specialist that names products and companies (including Acura and Compaq), CanWorks became Simplehuman in 2002, because of Mr. Yang's conviction that the accuracy of a brand's identity could corner a particular market -- in Simplehuman's case, the kitchen renovators and cooking enthusiasts who were the design-driven demographic behind other houseware successes like Williams-Sonoma.
+Michael Barr, president of NameLab, said of the decision to make 'Simplehuman' a single word, 'It's taking two natural language words and making them a 'thing' -- making the brand name itself a design object.'
+Mr. Yang also worked with design firms and freelance designers to brainstorm about the silhouette, mechanics and social message of the cans.
+'It used to be that a company designed a product and then hired Ogilvy & Mather to come up with an advertising campaign and the marketing,' said Mr. Reynolds of the housewares association. 'Now the whole branding thing starts with the look of the product.'
+Mr. Yang concurred.
+'Branding is part of the design,' he said of the Simplehuman line, whose supporting sales motto, with a similar genetic-sounding perfection, is 'Tools for Efficient Living.' (Simplehuman also uses a lowercase 's' in its logo, to advertise an appealing modesty in its own achievement.)
+Sally Geller, senior buyer for Williams-Sonoma's catalogs and Internet site, where Mr. Yang's garbage cans are sold, explained that the brand, as well as the garbage can, was what made Simplehuman appropriate for her customers.
+'If they had been CanWorks, we probably wouldn't have tagged it,' she said, referring to identifying the products by name in the catalog. 'If they had been called 'Porsche Trash Cans' we would have been suspect too -- more hype than function.'
+Ms. Geller described their 'core customer' as someone with an income of $150,000 who likes to entertain and who has multiple homes.
+'That's the kind of person who's going to invest in a can like this,' she said. 'They spend for their kitchens.'
+And, as Mr. Yang, the would-be king of disposable income, observed, 'If you're spending $1,000 on a stove, what's $179 for a trash can?'
+Phillip Spinelli, a waiter shopping for a trash can on Wednesday at Bed Bath & Beyond on Sixth Avenue in New York, was unmoved. Mr. Spinelli, who chose a plastic $16.99 step can, said of the towering wall of Simplehuman products next to him: 'They're out of my price range. And you have to polish them. And you have to buy the other stuff, the bags -- it's all strategized.'
+Mr. Spinelli is buying a step can because he has mice.
+'We're not talking about Trump Tower here,' he said of his kitchen.
+DESIGN NOTEBOOK"
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+THE scenery along the Ohio Turnpike -- an east-west melding of Interstates 80, 90 and 76 -- will never be confused with that along, say, the Pacific Coast Highway or the Blue Ridge Parkway. But weary travelers this summer are encountering something that may compensate: a new generation of service plazas, providing the amenities of home or at least those of a decent airport terminal.
+In Ohio, the buckle on the Rust Belt, the turnpike commission has decreed a new family of pleasure domes. Little colonies of comfort just off the exit ramps, the buildings are set in pairs, one on either side of the roadway. They catch the eye immediately, suggesting the town hall of a midsize Swedish municipality or perhaps an American high school designed by Eliel Saarinen.
+Long, with low domes, eaves of white limestone and supports of Roman brick, they replace drab and dingy facilities dating from 1954 and 1955, the first years the highway was open. Their arcades curve to embrace the parking lots; covered walks reach out, topped by an iconic minitower that is part sail, part steeple -- a faintly Art Deco element that could have been borrowed from the 1934 Chicago World's Fair.
+At about $10 million each, the plazas may seem steeply priced. But the two pairs already open (the Erie Islands and Commodore Perry stops, at one exit, and the Towpath and Great Lakes centers, at another) have become a hit with their offerings of Sbarro, Starbucks, Jody Maroni's & Cinnabon, Burger King and Max & Erma's restaurants. All 16 stops are due to be finished by 2005 or 2006.
+The designs were part of a larger plan to improve and widen the turnpike, a plan initiated in 1994, when the commission promised a fresh new vision: 'Rather than rehash the old concept of service plaza, the commission has instead redefined the concept for the 21st century,' a legend on the turnpike map boasts.
+Under Umberto Fedeli, a former chairman of the commission, the project began in 1995 as part of the wider refurbishment. To pay for a whole package of improvements, including redoing toll plazas, rebuilding bridges and adding interchanges and an extra lane, tolls have been raised about 10 percent a year since 1995, leading to widespread grumbling.
+'They said we were building Turnpike Taj Mahals,' Enrico Zamporelli, the commission's executive director, said. 'But now people love them.'
+The new service plazas have surely helped improve drivers' perceptions of Ohio. The impressions left by a major highway can shape the image of an entire state -- consider how often New Jersey is associated with the oil refineries along just a couple of miles of the New Jersey Turnpike.
+'We wanted to enhance the image of the state of Ohio,' Mr. Zamporelli said.
+The architect of the new centers is Celso Gilberti, whose firm, Gilberti Spittler International of Cleveland, was chosen from three finalists in an architectural competition. Mr. Gilberti, who was born in Brazil, examined other 'transportation nodes' -- bus and train stations and airports -- and chose as his model what he calls 'the better shopping airports,' like Pittsburgh's, with a variety of stores and types of food.
+The look of the buildings is inspired by Prairie style, he said. 'My buildings have a strong sense of eaves,' he said. 'You get a very nice horizontal line, anchored with the dome at one end.' Those eves and the long Roman bricks in the supporting structures pick up the horizontal line of the road -- the line of the journey.
+Too often, Mr. Gilberti said, travel becomes monotonous: 'You lose the excitement you had when you set out, of going from one place to another. I wanted to recapture some of that excitement of the journey.'
+IN each lobby, an attendant stands watch at a horseshoe-shaped information desk. Inside are shops, a business center with a fax and e-mail kiosk, a truckers' lounge and various dining options.
+A display shows a side of Ohio that is changing. To such attractions as the Benjamin Harrison historical site have been added the Rock and Roll Hall of Fame, the National Inventors Hall of Fame and the roller coasters at the Cedar Point amusement park, top-rated by connoisseurs.
+A chart lists hotels and motels along the turnpike, with a green light for vacancy, or a red light if fully occupied. Truckers, who enter separately, have their own television lounge with smoking and no-smoking halves, several showers and a coin laundry room.
+Beneath the dome four or five restaurants line one wall, and tables are scattered among upright lamps that feel like streetlights. The patio, with more tables, is popular as well. At the Towpath center, the restaurants include Panera Bread, known for sourdough bagels; the Coffee Beanery; Wendy's; and Pizza Hut. As is the policy at many airports these days, the facilities promise to restrain prices for 'captive travelers' to roughly the level of those in surrounding areas.
+Turnpike travelers across the country have come a long way from the dark 1970's, when they faced decaying facilities on toll roads. Long-term contracts during those inflationary years left the vendors with little incentive to improve.
+The pattern for toll road services was set by the Pennsylvania Turnpike, the nation's first, which opened in 1940. In the 1950's, variety in food on the turnpike meant 28 flavors of ice cream to follow the wrinkled frankfurters in paperboard trays. Howard Johnson raised turnpike food service to an art, before grudging service, indifferent maintenance and minimal choice became the rule of the toll road in the 1970's.
+Moreover, tastes have changed. Travelers want bagels and yogurt, Arizona iced tea and French roast coffee. (The Starbucks at the Commodore Perry service area, Mr. Zamporelli said, is one of the busiest in the country.) And they want their electronic services: modems, faxes and places to recharge their cell phones. Even truckers file their road logs by fax or e-mail.
+Representatives of other turnpikes have visited Ohio, Mr. Zamporelli said. The New York State Thruway has added larger plazas with more services and varied food in recent years. Several states offer outdoor farmers' markets in the summer.
+Mr. Gilberti stops by the plazas frequently to read comments in the guest books. On his way in, he always glances up at the towers at the entrance. 'These I call the Portals of Ohio,' he said.
+DESIGN NOTEBOOK"
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+IN the exotic-car sweepstakes, even the bulletproof, see-through Pope mobile will have competition when the Pontiff visits Cuba on Jan. 21. No country, not even a state of mind like Los Angeles, has a more nostalgic collection of post-World War II American cars than the Caribbean nation, to judge by the two- and three-tone specimens that time and history have left behind and running on the dilapidated streets of Havana.
+Cuba was effectively one of the states in 1959, when Fidel Castro swept down from the hills into the pulsating capital. Detroit's days of glory coincided with Havana's nights of glamour, when men smoked status cigars and sported cars with major-league fins.
+Those muscular American cars now strut their whitewalls against the peeling backdrop of the once rich and handsome capital. These trophy autos are stranded in a threadbare city, the talismans of one culture thriving conspicuously in another. The men who own these private cars (and in Cuba, they are almost exclusively a man's thing) dote on their chromed prizes; yet, Havana itself is architecturally exhausted, the signs of deep, sustained economic crisis and an ambivalence about property written on nearly every facade. The cars are preserved; the buildings are crumbling.
+During the long prime of the Spanish Main, Cuba was the geopolitical omphalos of the empire. Havana, tollbooth for booty being shipped back to Spain, acquired a rich architectural patrimony, its stone pediments and cornices crisp in the Caribbean light. With a Latin flare for architecture, 20th-century Havana fostered bold strokes of modernism in the heart of the city, and in the new suburbs spawned by the car. Architects shared with Detroit an optimism about progress through design, and with carports and double garages they made conspicuous room in their futuristic structures for aerodynamically suave automobiles. Detroit's cars had worthy buildings to cruise up to: car and house returned each other's compliments.
+If the city is still largely intact, rather than bulldozed by developers, it is because President Castro, channeling his resources elsewhere, has simply pursued a policy of benign neglect in Havana -- though after nearly 40 years, the neglect shows. Even after some 11th-hour rescue efforts by historic preservationists (the stone forts are secure, and so are some convents and newly renovated hotels and restaurants), the cars seem like exotic tropical fauna sadly in need of flora.
+The architectural backdrop that made these cars part of an urban ecosystem has suffered from the double whammy of Communism and poverty. A visitor's eye splits its time between the sadly deteriorated facades and the chrome barges -- Technicolor cars, driving around in a black-and-white movie.
+Hunky '55 Buicks, with chrome grilles set like the locked teeth of a grinning piranha, were popular then, and now, as well as sinuously streamlined Chevys from the mid-50's. 'Cars of Cuba' by Cristina Garcia, Joshua Greene and D. D. Allen (Harry N. Abrams, 1995) counts 5,413 registered Chevys in Cuba.
+Then there are the monumental Cadillacs from the stylish decade when that pert and classy upright fin came attached, like a dollar sign, to a long series of subtly refined designs that conquered the known world. A Cadillac was a Cadillac was a Cadillac, but some sophisticates preferred the period's great boats, the Lincoln Continental four-door.
+Beyond the obvious trophies that Lucy and Desi might have driven on the arcaded Malecon (the oceanside promenade, which today is nearly shopless), there are recherche specimens, like the Hudson Hornets of the mid-50's, or the even rarer Kaiser, with widow's peaks over the windshields, and hood and fenders stretched tight like an overenthusiastic face lift. Occasionally, one of the low-slung, snarky Raymond Loewy Studebakers -- too much ahead of its time to be successful -- rounds a corner, and once in a long vacation, the Avanti, Loewy's last Studebaker, makes a cameo appearance. As if to drive gringos mad, 'woodies' (wood-paneled station wagons) are occasionally seen plying the northern coastal roads.
+American cars no longer made it directly to Cuba after, as Cubans say, the 'triumph of the revolution.' Cars still rumbling around on Havana streets date back to the late 30's and cover two epochal moments in Darwinian car evolution -- when sloped-back cars of the late 40's developed boxlike passenger cabins, and when wraparound windshields replaced flat sheets of glass held by window mullions. The notion of speed written so visibly in body silhouettes and chrome details had its architectural equivalent in the horizontal streamlining of Havana's Moderne buildings. (Until the 1959 revolution, Cuban architecture followed American, only on a smaller scale.) Nothing in the current crop of outsize beach-side tourist hotels expresses anything like that dynamism.
+For Americans the cars may seem like collectibles, but for Cubans they are transportation. Many of these gas-guzzling geezers earn their keep as taxis, wedding-day chariots and tourist toys. Their owners keep them going by cannibalizing parts from other cars, including Russian jeeps. Hemingway's old woodie from the 40's and his red Chrysler convertible, circa 1956, have long since vanished from his villa, Finca Vigia, outside Havana, but there is little doubt that their body parts have been recycled into cacharros (a term of endearment, loosely translated as jalopies). The front grille or a hood ornament from one car may be grafted onto another, creating an implausible hybrid. And some cars are further decked with shiny stars bolted to their flanks or chrome visors added to the windows and windshields.
+The tender loving paint jobs, however, make it clear that sometimes a car is not just a car. The Yves Klein blue on a '55 Mercury is a color of love. Occasionally, the car is painted to match the house, out of the same bucket of paint. Look closely, and you often see brush strokes.
+The value of these rare cars on the globalized market is both a moot question and a sore point. After the collapse of the Soviet Union, the Cuban Government mined them as an asset and requisitioned the best for export. Parking lots near the docks became surreal holding tanks. One former owner of a sports car told of driving his impeccable '59 Porsche, the last to be imported into the country, down to the docks with tears in his eyes. The Government, he said, had made a deal, and the car was off to Genoa. In exchange, he said, he received a new Russian-made Lada, a car that is little more than a refrigerator on wheels.
+By Cuban standards and rates of exchange, owners of these cars are driving a near fortune, but a Cuban cannot sell a car directly to a foreigner for export. If an owner wants to liquidate the car, he has to trade it in to the Government for another. There is a market for these oldies in Mexico (and other countries), where they are restored and sold. Some are eventually repatriated to the United States as antiques. In any case, the Cuban Government makes the deals.
+The Ladas, like the dour Soviet-era buildings erected in the country, are an ideology once or twice removed from the American dreamboats. In the 1950's, the American car was designed for a society based on individuality and conceived for cowboys of the open road. The faceless anonymity of Russian cars, on the other hand, was intended for members of a proletariat whose individual identities were fused into the collective -- no distinctive fins, faces or rear ends for the vehicles of mass uniformity. Through the American cars in Cuba, the script for rugged individualism keeps rolling through the socialist mind-set, even as the bourgeois building facades dissolve. Exuberant fins remain the most visible reminders of the urge to stand out and of a political system that is tantalizingly close, at least geographically.
+Had the rights of man been penned after the advent of the car, surely Pontiacs and De Sotos would have been itemized. The survival rate of these automobiles against the odds of time and government is testimony to their treasured status. Owners in Havana hold on to their cacharros, among the last great pieces of industrial design accessible to Cubans.
+Correction:  January 12, 1998, Monday  A picture caption in the House & Home section on Thursday with an article about Cubans' upkeep of American cars of the post-World War II era misstated the make of a car. It was a composite of 1948 and 1949 Oldsmobiles with Buick chrome strips on the front fender, not a late 1940's Pontiac."
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+WHAT could be more pleasant than relaxing in a sleek, glass-walled pavilion with views onto a rural backdrop of pond and meandering river, where the only disturbance is the croaking of frogs and the quacking of ducks? That picturesque conceit has been realized in this unlikely city, the politically active but architecturally dull state capital of California. Here, the homeowners, a businessman and his art-collecting wife, commissioned a contemporary house extension -- studio, gallery, office and living room -- that cantilevers over an artificial but pastoral pond on the banks of the Sacramento River.
+Designed by the architect Mark Dziewulski, with the garden and pond by Haag Landscape Architecture, the clean, simple-looking marriage of water, concrete and glass was a complicated undertaking that belies the extension's setting. Tucked away behind hedges, bushes and trees are suburban backyards and bungalows.
+The client's wife, who grew up in Hawaii, has long loved water and tropical plants. In  1970, the couple bought a house in a residential neighborhood on the banks of the meandering Sacramento River, the city's natural preserve. They commissioned Ed Haag, a landscape architect, to build a koi pond in the courtyard.
+Two years ago, the couple bought a neighboring parcel and began planning a large garden that, Mr. Haag said, would extend into water. Thus was born the idea of creating another, bigger pond. But the existing house -- a mid-60's ranch house with three wings flanking a courtyard that opened onto the river -- had no view onto the new parcel. Mr. Dziewulski presented two schemes, one an extension in the style of the existing house, the other much more striking -- an open pavilion shooting out from the house and up from the pond, over the water and toward the river.
+The clients took the plunge and went with the second option, giving the architect the latitude to create a modern sculptural form. They were captivated, the wife said, by its 'wow factor.'
+In the manner of Cubist-inspired buildings like Rietveld's Schroeder House and Le Corbusier's chapel at Ronchamp that feature visually distinct interlocking vertical and horizontal planes, Mr. Dziewulski's design consists of seemingly discreet elements -- the soaring roof, the west wall with irregular fenestration, the south- and east-facing wall of glass -- interconnected by what he calls the proscenium arch of supporting concrete piers and a steel I-beam.
+It looks effortless but, as Mr. Dziewulski said, 'making things look simple is so hard.' Building the pavilion 'was as complex as building the space shuttle.' The stucco-covered steel-framed roof, designed for maximum lightness, does not just stretch upward, but also widens and curves as it extends over the water. And it tapers near the tip to appear lighter.
+Meanwhile, the 1,200-square-foot extension blends with the existing 10,000-square-foot house. Sand-colored limestone flooring flows from the old to the new space. And the new roof swoops up from the downward slope of the house's Cliff May-style wide-pitched roof. Mr. Dziewulski said, 'There are just enough elements like the big overhang of the sweeping ranch-style roofs' -- echoed in the soaring pavilion roof -- 'to make the visual connection.'
+Facing east toward the river, the glass wall is folded into translucent, clear glass panels, allowing a view of the river while providing a backdrop for contemporary, New Guinea and African sculptures. Panes had to be delicately inserted into stainless steel channels that would allow for movement due to wind loads, heating and cooling. Such a feat of construction involved coordination with the glass manufacturer (Commercial Window Systems), contractor and structural engineer, Mr. Dziewulski said. Intense cooperation between the architect and the landscape architect was also key to the integration of pond and pavilion.
+A whopping 6,000 square feet, and eight feet deep in parts, the pond was built like a swimming pool with six-inch thick Gunite walls. To meet stringent codes, the footings for the studio were built first, then the pond shell was poured. To clean the pond, which laps innocently at the soft edges of the surrounding garden, requires a concealed pump that recycles water 24 hours a day.
+The project was unusual because of the generous proportions of the garden and pond, which fill an entire lot. These days, Mr. Haag said, gardens are getting smaller and buildings are getting larger. Most gardens, he added, are not as lavish as this one, which is a veritable Monet's garden with lilies, irises, lotuses and plump goldfish.
+Ponds, Mr. Haag said, are costly to maintain, use a lot of water and have no function. Aside from cooling the air, they simply provide delight. This pond is in fact shamelessly, hedonistically, contemplative.
+But what delight! At night, frogs burst into song; ducks and deer have wandered from the river; blue herons have homed in and, true to their natures, tried to stab the goldfish. Moreover, the water dapples the inside of the pavilion and mirrors the lights of the building. The landscaping in and around the pond offers color and texture for every season. In spring, a Western redbud tree offers a lush cerise contrast to the stark gray-green limestone of the pavilion.
+Mr. Dziewulski's clients were so delighted with their extension that they have virtually moved into it. They entertain, watch television and eat dinner there. The wife, who is active in the arts community, also works there at a desk that extends into the middle of the room from a wall of neatly crafted shelves, drawers and filing cabinets. The extension beckons with light and views and tranquillity, so much so that the original house now feels like the add-on.
+Mr. Dziewulski trained at Cambridge University and has worked for Michael Graves, for the corporate modernists Skidmore Owings & Merrill and the English firm Ahrends, Burton & Koralek. Three of his recent projects -- this pavilion, a Virgin Megastore  in Sacramento and Davis Commons, a nearby retail center -- won American Institute of Architecture awards last year.
+In this pavilion, Mr. Dziewulski wanted to build an exuberant jewel in the landscape, a radical, architectonic form, in contrast to its pastoral setting. While some see the spirit of dynamic 50's modernism (in the manner of Le Corbusier or Oscar Niemeyer) in his pavilion, he is not a diehard modernist. The seeming simplicity of the style suited this project, he said, but each commission demands something different. 'Each one makes you reinvent yourself,' he said.
+DESIGN NOTEBOOK"
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+AT this time of the year, fireworks sell as briskly as barbecue sauce and paper plates.
+In 41 states, it is legal for adult consumers to buy certain fireworks at least during the weeks leading up to the Fourth of July, and in some cases, year-round. In nine states, including New York and New Jersey, it is not. In places like South Carolina, where fireworks have been legal for a long time, they are peddled not only at seasonal roadside stands but also at fireworks superstores, some strategically positioned along the Interstate.
+Sales have doubled within the last 10 years, according to the American Pyrotechnics Association in Bethesda, Md., and with the growth has come increasingly playful and sophisticated designs, earning new respect for fireworks. Many retailers nationwide hang out signs for Black Cat, a trademark of Li & Fung Ltd. of Hong Kong, whose hand-painted, 1950's-era logo -- an expression sometimes glowering, sometimes smiling -- is so well known that it has become the Golden Arches of backyard pyrotechnics.
+Designed by a long-forgotten graphics artist, the logo is a charming anachronism in a rapidly changing field. Dozens of companies, most of them based in Asia, compete for shares of the American market, which last year swelled to $610 million. At prices that run from $2 to $200, some fireworks are no more elaborate than sparklers and Roman candles. Others aim to deliver miniature versions of the public shows sponsored by professionals, with effects like palms, willows and crowns.
+Along with their backlists of firecrackers and bottle rockets, manufacturers are adding colorful novelty pieces shaped like vehicles and animals, ready to spin through the air or across the ground. Even in the box they are a visual treat, tightly wrapped bundles of tissue in festive colors with exotic lettering and imagery, mingling the flavors of Asia with those of the circus. In states like Tennessee, South Carolina and Missouri, fireworks superstores use vibrant displays to attract impulse buyers passing through. They often stock variety packs shrink-wrapped like Hickory Farm gift cheeses.
+Black Cat has the Mammoth Fountain (a cylinder that spews a cascade of light) and Lightning Storm (several seconds of airborne dazzle). Its Tortoise model lays blazing red, green and blue eggs as it moves on the ground. There are alligator-shaped fireworks and a Cat Copter (design patent No. 361367), which sails through the air surrounded by whistling missiles, said Ralph J. Apel, 52, president of Golden Gate Fireworks in San Francisco, a marketing and development company for Black Cat. He is also Golden Gate's de facto chief designer.
+Mr. Apel's most popular introduction this summer coincidentally plays off the film 'Pearl Harbor.' It is a fireworks model of an aircraft carrier, which sails across the ground, its bridge glowing red and six helicopters lifting off the deck.
+Mr. Apel comes up with many of the concepts, some of which are foreign to Black Cat factory workers in China and Indonesia. (Black Cat fireworks are also made in the United States by a company in Clinton, Mo.) To realize a design based on dragster race cars, he said he took many pictures with him on one of his periodic trips to China, adding, 'It took four tries to get one that would do a real wheelie.'
+The rival Brothers Pyrotechnics firm produces a spinning piggy bank with a glowing red nose. It also makes high-concept displays like Blond Joke, which is advertised as 'an attention-grabbing show' of alternating red crackling stars and green and blue clusters with crackling tails.
+Despite their new feats, fireworks -- the legal variety, that is -- are safer today than they were 10 years, according to the American Pyrotechnics Association. In a report to be released today, the United States Consumer Product Safety Commission said injuries rose last year but attributed it to a large increase in fireworks use surrounding millennial celebrations and the Fourth of July. The commission confirmed that from 1994 through 1999, injuries dropped by a third. The commission nonetheless urged consumers to leave the fireworks to the professionals and in no event to use M-80's, cherry bombs or quarter sticks, which have been banned by federal law since 1966.
+For those who prefer not to do the igniting, there are fireworks-related collectibles. Colorful labels, banners and boxes typically sell on the Internet for $30 or less (www.fireworksland.com is one site), and Black Cat markets T-shirts, mugs and other souvenirs at the same places that sell its fireworks. (Don't look for fireworks in  Rhode Island, Massachusetts, Delaware, Vermont, Georgia, Arizona and Minnesota, in addition to New York and New Jersey. For a guide to fireworks laws of states,  www.americanpyro.com.)
+Two recent books are devoted to the dazzling variety of fireworks designs: 'Firecrackers -- The Art and History' by Warren Dotz, Jack Mingo and George Moyer (Ten Speed Press) and 'Cock: Indian Firework Art' by Luigi Giannuzzi and Gavin Aldred (Trafalgar Square).
+Susan Orlean, the author of 'The Orchid Thief' and other books, has a Black Cat poster hanging in her New York apartment. 'It's such a cool cat and so enthusiastically menacing,' she said. 'I also love the Maoist color scheme.'
+DESIGN NOTEBOOK"
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+BLUES in the night. A purple heart for the lovelorn. Peter Eisenman's new design for a Parisian telephone kiosk is oddly poignant, coming from an architect noted for such cold-blooded formal explorations as the Wexner Center for the Arts in Columbus, Ohio, and that city's convention center, with its metal roof that undulates like a bed of snakes.
+Here, Mr. Eisenman seems inspired by the prospect of creating a pavilion for two in the capital city of romance. (April in Paris.) But the two callers that the kiosk can accommodate could be strangers. They could be getting busy signals. (April, the cruelest month.) Or a bad connection. (Allo? Allo?) Here's an alfresco setting for the Poulenc-Cocteau opera 'La Voix Humaine.'
+Commissioned by J. C. Decaux, the French firm best known for deluxe sidewalk pay toilets, the kiosk is a prototype being considered for placement throughout the city. Designs are also being submitted by Norman Foster, Jean Nouvel, Charles Gwathmey, Robert A. M. Stern, James Stewart Polshek, and Tod Williams and Billie Tsien. A decision is expected in about six weeks, and eventually Decaux plans to distribute 5,000 kiosks, perhaps in a mix of designs.
+Mr. Eisenman proposes to use a carbon-reinforced plastic fabric, similar to that used for bulletproof vests. Designed on a computer, the enclosure -- made from a single swirling, folded plane -- would be anchored to a metal column that supports two phones and a panel for illuminated advertising. Seating would be provided for one caller, or two close pals. The kiosk's skin would vary in opacity from open mesh to solid canopy, the latter acting as a rain shield.
+This is not the first time that Mr. Eisenman has toyed with the conventions of coupledom. In 1972, his experimental House VI, in Cornwall, Conn., had a slot in the floor of the master bedroom that divided the bed in two. Philosophically, Mr. Eisenman is often drawn to the idea of collapsing dualisms (inside and outside; site and surroundings) into a fuzzy state of in-between. That bent is translated here into a form in which seating blossoms into roof, and enclosure dissolves into the perfume of the blue hour.
+What a sensual beauty-freak Mr. Eisenman is turning out to be. In his most recent work, he has given up his reliance on the Cartesian grid in favor of softer contours that billow, swell and undulate. With the kiosk, this new approach has produced an object almost floral in effect, perhaps a newly bred lavender rose that tapers on one side to a sharp, thorny point -- a reminder that pain is one of love's glories.
+Like many theoretically inclined architects, Mr. Eisenman has been reluctant to acknowledge the link between formalism and beauty, but his work is starting to do it for him. He calls himself a critical architect, an antagonist to convention. But beauty has always offered the most powerful critique of the difference between life as it is and as it should be.
+DESIGN NOTEBOOK"
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+THE irony is rich. That's what makes the Cooper-Hewitt National Design Museum of the Smithsonian Institution different from other arty museums in the United States.
+In 1976, the dark and pompous Andrew Carnegie mansion was turned into a bright public showplace for the usable arts of daily life. Here were exhibitions that talked straight, with a voice that was gutsy and sharp, yet highly refined. (In a current show, sketches of Disneyland are framed like Palladios.)
+But not all irony is nice. One of the Cooper-Hewitt's crueler facts of life is that its director, Dianne H. Pilgrim, who has multiple sclerosis, could not enter the front door of the museum she had run for 10 years. Her wheelchair was not designed for steep palace staircases.
+This year Ms. Pilgrim solved that problem -- for herself and for thousands of others who had trouble climbing those granite steps and heaving open massive glass-and-bronze doors once opened by butlers. As part of a $20 million, four-year renovation and expansion, the museum has installed a new ramp and has shrunk many barriers that kept it from serving its purpose: showing the biggest possible audience that utility, done well, can move the soul.
+Or at least brighten your day. Perfectly timed with that reopening is a major exhibition, 'Unlimited by Design,' which is all about taking the needless barriers and discomforts out of everyone's daily routine -- not just in museum mansions, but in ordinary places like the home office, bathroom, kitchen and garden.
+To that end the museum has transformed a room into a playground and set up a modern workplace with talking-and-listening computers, a streamlined bathroom and, most remarkably, two futuristic yet buildable kitchens.
+There are 150 services and products featured. Some are on sale in the museum store, like the responsive 'Wiggly Giggly' balls that help vision-impaired children. Others, like the pop-up mini-dishwashers and pasta-cooking stations, are waiting for manufacturers to propel them into the marketplace.
+'This is something I've wanted to do since I became director,' Ms. Pilgrim said. The show promotes  universal design, a term coined in the 1970's by the late Ronald L. Mace, an architect who championed  a new perspective: that making the world easier for the disabled actually makes life easier for everyone.
+Over the last 20 years, Mr. Mace and others worked to make universal design as acceptable as public safety. What was required was common sense and the infiltration of the comfy world of smug young people, where fear and denial about aging and infirmity are strong. When making a sidewalk, for example, why not cut the curb down for mothers wheeling strollers, for travelers with baggage, for anyone using wheelchairs? In 1990, the Americans With Disabilities Act made curb cuts mandatory.
+Although the message about accessibility has traveled widely over the last five years, the Cooper-Hewitt claims that it is the first museum to hold such a show. 'Unlimited by Design' had as its curators Bruce Hannah and George A. Covington, the authors of 'Access by Design' (Van Nostrand Reinhold, 1997). Mr. Hannah is an industrial designer who teaches at Pratt Institute; Mr. Covington, who is legally blind, is a writer and lawyer known as an advocate for universal design.
+Mr. Covington said, 'It's not a 'crip' show,' meaning a show only for people with disabilities.
+The guest curators were aided by  manufacturers and teams of researchers. For example, the Rhode Island School of Design spent five years on its universal kitchen project, under the direction of Jane Langmuir, an architect. Two kitchens shaped by that research are  making their debut here.
+The problem in presenting these universal designs is thorny, however. How do you tell an engaging, hands-on story about a serious mission? (In fact, many hands-on features of the universal kitchens had to be 'utilities off,' for insurance reasons: no water, no gas.)
+A limitation of the 'Unlimited' show is that the inventions are too numerous to label and often too subtle to see. The Metaform bathroom, for example, is packed with solutions designers have sought for decades. One ingenious prototype is from Gianfranco Zaccai of Design Continuum, which erases the shower threshold, a detail vexing to those in wheelchairs. Only a contractor could discern the hidden invention: a plastic perforated floor is placed over the drain. The Metaform streamlined plastic toilet flips up to save space; when closed, it cleans itself.
+'I wanted this to be a beautiful design show,' said the exhibition's  director, Donald Albrecht.
+In that, he has succeeded, perhaps too well. The irony lies in the etiquette of it all. By taking great pains to prove that accessible design can be beautiful, the show has collected lots of beautiful design, presented it beautifully and made it look, well, sort of inaccessible.
+But all this ends up being compatible with the politely provocative tradition of the Cooper-Hewitt. What 'Unlimited by Design' shows is the highly romanticized relationship most designers have with design. Few of them like confronting the messiness of daily life -- and the  unesthetic needs of actual people. It is easier to serve an ideal than to wrestle with all the permutations of  body types and biological functions. Globally, most 'good design' is lovely to look at and delightful to touch but conceived for an idealized client who chucks utility for style.
+Beauty is thin stuff. And inner beauty (that is, functions that spur  better patterns of living) is not always pretty. Photogenically, the two universal kitchens in the exhibition would be shelter magazine rejects. The beauty they create is in the reorganized, retooled, refreshed life of the person using them.
+Although Ms. Langmuir doesn't brag about it, the RISD crew did what designers seldom dare. They blew up preconceptions about what a kitchen should be -- stacks of costly steel and wood boxes -- and started from scratch.
+Eventually, they poured their ideas into two kitchens -- each a universe of its own. The Maxi is for families and those who entertain; the Mini suits the cooking-for-one style of dorms, studios and hotels.
+The students and researchers cooked together, videotaped the chaos, did time-and-motion studies, sketched and,  best of all, asked thrillingly mundane questions: if everyone eats pasta, they said, isn't there an easier way to cook it?
+For the Maxi kitchen, they designed a pasta basket that looks like a deep-fryer, then fitted that into a basin that fills with water. The contraption makes it possible to cook the pasta and drain it without moving it. That way, there's no dumping heavy pots of scalding water.
+And pasta-making was just the beginning. The kitchen's main event is a 'wet island' -- with interchangeable functions that can be customized and combined in many ways. The island contains a long work surface that lets you wash, chop, discard, cook, clean and juggle dishes in a series of continuous motions. Behind the narrow ribbon of work surface are three dishwashers (one for glasses, one for dishes, one for pots), which pop up for easy loading or sink out of view to create extra work surfaces. 'The idea is to clean as you cook,' Ms. Langmuir said.
+The sink is not the usual giant tub but a shallow basin equipped with a pull sprayer and lined with ribbons of water activated by infrared sensors.  Cantilevered from the island is a wooden counter that recognizes the way American families actually dine and snack: on the run.
+This weekend, Ms. Langmuir showed a small visitor, a 9-year-old budding chef thwarted by grown-up kitchen counters, how the universal kitchen can change shape to suit the people using it. 'You press this button and an electric motor moves the counter down to 28 inches, or up to 40,' Ms. Langmuir said. The little girl, an ebullient cook who struggles at 38-inch-high counters at home, watched the counter sink slowly. When it stopped, she beamed an empowered grin, the kind Girl Scout leaders live for. All it took was a few inches of change and suddenly the girl's aspirations meshed with a reachable world, like an elevator  opening onto a penthouse panorama.
+How do you unlock somebody's aspirations? Sometimes, all you need is a gnarled little electric motor. It's not pretty, but it moves things along in a meaningful way.
+Now that's beautiful.
+Cooper-Hewitt National Design Museum, 2 East 91st Street; (212) 849-8300. 'Unlimited by Design' runs through March 21.
+DESIGN NOTEBOOK"
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+BOND. Forty Bond. That's the address of the latest downtown luxury condominium being whipped into shape by Ian Schrager in league with the high-brow Swiss architectural team of Herzog & de Meuron. The name brings to mind the spy who never came in from the Cool.
+And it had better. At upward of $2,800 a square foot, the condo on Bond Street needs to offer an experience beyond ho-hum workaday living.
+But in the crowded field of luxury condos by celebrated architects, it is getting harder every day to be noticed. The ranks are heavy with A-listers -- Richard Meier, Santiago Calatrava, Jean Nouvel, Charles Gwathmey and even Philip Johnson from the beyond -- all vying to reinvent lavish living for those few, those happy few who never have to take out the trash or cook for the children.
+'I'm interested in rethinking the genre,' said Mr. Schrager, who is also reinventing the Gramercy Park Hotel with condos by John Pawson and hotel rooms by Julian Schnabel. 'I'm making something really special for that person in the know who wants the unique living experience. It's the same person who went to my nightclubs and stayed at my hotels. Maybe now they're a little richer, a little older, but they still want to be part of the zeitgeist. I don't need many of them.'
+In other words, prospective seekers of smaller comforts, go home someplace else.
+Enter Herzog & de Meuron, which is best known for the Tate Modern in London and, more recently, the de Young Museum in San Francisco. Forty Bond will be its first building in New York and its first condo in the United States. When the firm has taken on residential work, Jacques Herzog said in a phone conversation this week, it has more often been low-income housing. 'We don't see ourselves in luxury,' he said. 'Our work is about experiment.'
+At 40 Bond -- now a grim hole in the ground in always trending, never trendy NoHo -- Herzog & de Meuron has done its radical best, envisioning an 11-story facade made entirely of cast glass with a greenish Coke-bottle hue.
+Along the street, a cast-aluminum fence intended as a bold update on 19th-century cast-iron gates will look something like spray-foam squiggles, a nostalgic reference to the graffiti that once defaced many city surfaces. The graffiti pattern recurs throughout the project, most noticeably in the lobby, where it is etched on towering walls of wavy white Corian.
+The condo consists of 27 units, including five 'town houses' or triplex apartments entered at ground level with their own backyards and tiny forecourts facing Bond Street. Above the town houses are 22 loftlike dwellings ranging from 1,269 square feet for a one-bedroom to 3,288 for a four-bedroom.
+Ceiling heights are a glorious 11 feet; bathrooms have smoked oak walls and milk-white Corian counters ('Corian is more expensive than marble,' Mr. Schrager explained). Are there wood floors? Yes, indeed. The entire space is covered in wide planks of oak imported from Austria, including the kitchens.
+When it comes to stardust du jour, nobody sells it better than Mr. Schrager, nightclub act turned swank hotelier, now swashbuckling developer. But it may take more than flashy lures to get prospective buyers to take the hook. Anyone driving up the West Side Highway can see that many of the original 'starchitect' condos by Richard Meier built four years ago are still uninhabited.
+Mr. Schrager adamantly, albeit predictably, dismisses any mention of a real estate bubble at bursting point. 'There's always room for something special,' he said. Even so, there are plenty of potential wrenches that could jam the works on the current luxury condo merry-go-round. For starters, construction costs are rising fast as China swallows up raw materials for its own building boom. Closer to home, high-end residential contractors with the requisite skill are flush with work and can afford to be very picky, and costly.
+And then there's the most delicate concept of all: expiration date. Adding architectural gems to the skyline is a great thing, said Jon McMillan, a director of planning at the Rockrose Development Corporation, but as a marketing tactic, 'it has a shelf life of about 15 minutes -- now that everyone's doing it, it's played out.'
+Until now, Mr. Schrager has shrouded the prospectus of 40 Bond in the highest-level secrecy. And secrecy has worked like a nightclub's velvet rope, fueling rabid interest. When a blog posted a rendering of the building facade (labeled Project No. 253 and bootlegged from a class taught by Mr. Herzog at the Harvard Graduate School of Design), Mr. Schrager said he had it removed. The real estate blogs went ballistic. Mission accomplished: 7 of the 27 units have been sold at prices ranging from $3.5 million for a one-bedroom to $10 million for a triplex.
+With only the Richard Meier and Gwathmey Siegel luxury condos completed, it is too soon to tell how ripe the market for luxury condos costing close to $3,000 a square foot will remain. Certainly, Mr. Schrager himself is one of the most sensitive barometers in town. When does he move on to the next thing? 'Once something goes mainstream, it's over for me,' Mr. Schrager said. 'Violating the status quo is what gets me up in the morning.'
+For most homeowners, however, it probably just takes a strong cup of coffee in a comfortable kitchen.
+DESIGN NOTEBOOK"
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+PEOPLE who live in glass houses are few and far between.
+Although dazzling in photographs, the first glass houses by Mies van der Rohe and Philip Johnson have been remarkably tricky to emulate. In reality, they were hidden from prying eyes on secluded country estates, like precious glass gems. That was 50 years ago. Recently, the privacy problem was campily dramatized at a glass house on a busy Tokyo corner. There, the owners hung full-length draperies all around -- on the outside.
+Surely, there must be some middle ground.
+Lorcan O'Herlihy, an architect who practices in the Culver City section of Los Angeles, has successfully found a way to build glass houses that city dwellers can live in.
+Mr. O'Herlihy's solution is stunningly simple. He uses clear glass in those places where you want to see out, and translucent glass in places where you don't. This way, he captures the unfettered joys of a glass house -- the luminous interior spaces, desirable views and inside-outside connections -- while magically dissolving the neighbors behind a beautiful blur.
+Why has it taken so long to make glass houses ready for their close-ups? The missing link, it turns out, has been a German-made architectural glass called channel glass. It caught Mr. O'Herlihy's eye in the mid-1980's, when he was fresh from school and working with Steven Holl in New York City. He could see that the ribbed, green-tinted translucent glass had a lot going for it.
+'The diaphanous pale green tinge lent a nice hint of color,' he said. 'And its terrific luminescence would warm up the coolest modern design. I'm a practical guy, and I liked the structural possibilities, too.'
+The problem was, it wasn't easy to get in the United States. 'The glass was not too expensive, but freight was exorbitant,' Mr. O'Herlihy said
+Stronger than ordinary plate glass, channel glass supports its own weight. Long, tall exterior walls can go up without mullions, where regular glass would bow out or break. Cast in bracket-shaped panels, channel glass is easy to install. The bracket ends lock together, like links in a chain, within a peripheral aluminum frame. Installed in double rows, back to back with an air sandwich in between, the glass becomes an excellent insulator. It is light, color, texture and structure rolled into one.
+Mort Kline's house in Malibu became one of Mr. O'Herlihy's first channel glass experiments. Its hillside site, up against neighbors on either side, overlooks a spectacular Pacific Ocean cove the architect calls 'the secret enclave of surfing.'
+Mr. O'Herlihy multiplied the ocean views with a multilevel, hill-hugging design. Clear glass windows across the front showcase the ocean. Mr. Kline, a surfer, says you can stand inside and feel the waves cresting right toward you.
+To veil the views, side walls are channel glass. Instead of looking at neighbors, Mr. Kline encounters glass walls dreamily illuminated by the golden sun, with deep-green bamboo shadows showing through. The whole interior glows with surreal, soft-focus light. The glass's distinctive vertical ribs, at 10-inch intervals, superimpose a satisfying rhythmic pattern on this gauzy scene.
+The views-versus-privacy problem vexed Marta and Dan Kelly, whose Marina del Rey penthouse overlooks the Pacific. Here again, Mr. O'Herlihy's judicious combination of clear glass in front and channel glass on the sides proved a winner. A highlight of this recent project is the channel-glass-walled library on the apartment's rooftop terrace -- a one-room crystal palace in the air.
+Mr. O'Herlihy no longer considers channel glass an experiment. His efforts helped get it distributed in the United States by Westcrowns Inc. of Sunset Beach, N.C. (910-579-4441; www.westcrowns.com) and stocked in 36 locations. Mr. Holl and Ann Fougeron are other architects propelling it into the mainstream.
+Mr. O'Herlihy explained: 'Channel glass is not the cheapest material, but the advantages certainly make it worthwhile. Since you don't need window coverings for privacy, the extra cost may be offset somewhat.' Channel glass runs about 20 percent more than traditional wall materials. A double-sided installation costs about $40 a square foot. In the Kline house, a 12-by-20-foot dining room wall cost about $12,000.
+Apartment dwellers or suburban homeowners can replace existing windows or walls with channel glass, as long as the depth measures at least two inches. Mr. O'Herlihy said that 'with proper framing, channel glass can also be used indoors,' as in a living room/dining room divider. At 8 feet high and 12 feet long, the wall would cost $4,000 -- comparable with using a decorative screen. It is also a striking replacement for the old sliding door to the backyard or terrace.
+Mr. O'Herlihy is poised to design a house for himself and his wife, Cornelia, in Venice, Calif. With channel glass? 'Absolutely.' But he added: 'It won't be a one-note performance. You have to use this stuff selectively. As great as it is, you have to know where to stop. It's about finding a balance -- like life -- and I like that.'
+DESIGN NOTEBOOK"
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+THE last several days have been tense ones throughout Italy. Over Easter weekend, major cities geared up, with a kind of morbid expectation, for a terror attack similar to the one that hit Spain last month. Then came the news that four Italians had been taken hostage in Iraq.
+So was it any wonder that visitors to the Salone Internazionale del Mobile looked to the yearly weeklong furniture fair for a bit of lighthearted distraction? In preview events on Tuesday, designers, critics and buyers alike seemed all too glad to linger within the fair's candy-colored glow.
+Those previews offered an appetizer for the huge meal to come on Wednesday -- when the fair opened officially -- and the days following. This year, appropriately enough, that appetizer was all about food, a subject the design world is becoming bolder about claiming as its bailiwick.
+In one pavilion on the fair's sprawling fairground, the New York architect Adam D. Tihany, known for his restaurant design in New York, including Per Se in the new Time Warner Center, has organized 'Dining Design,' a mixture of work by young and established figures. Its centerpiece is an indoor street lined with restaurants created by students and faculty members from 10 design schools around the world. Meanwhile, on Tuesday two other food-related exhibitions welcomed the press in La Triennale, a separate event near Milan's old castle, including a show of high-end outdoor food stalls by Future Systems, a London-based architecture firm, and others.
+'Every architect I know now wants to design a restaurant,' Mr. Tihany said on Tuesday. Standing near the entrance to the exhibition, his jacket and violet tie glowed in the reflected light of a huge video installation of raw and cooked food by the New York-based food stylist and artist Nir Adar.
+Mr. Tihany added: 'Every business traveler today, if you open their luggage, you will be hard-pressed to find a guide to the monuments of Rome. But you will find the restaurant guide right on top.' Nearby stood Mr. Adar, who has provided the artwork for several restaurants designed by Mr. Tihany, including the Aleph hotel in Rome. With his shaved head, dark suit and formidable frame, Mr. Adar looked like a cross between a maître d'hôtel and a bouncer as he checked out his six-minute video.
+As a major theme for a fair devoted to furniture design, food may be a stretch. Still, the show makes an energetic case that restaurants are now the place where the public can sample a wide variety of aesthetic disciplines in a single spot, from architecture to furniture to flatware to gastronomy.
+Just past Mr. Adar's video is a full-blown restaurant interior where meals will be served to select visitors by Rosita Missoni. The upholstery, carpet and tabletop designs are a good deal less busy than what might be expected from the company that bears her name. The interior will be pulled up in a couple of days, at which point a design by another fashion designer, Paul Smith, will take its place.
+The lightest touch of all was provided by Mr. Tihany himself, who designed a glowing white plastic chair, lighted from within, and then placed it inside a bar where hot chocolate will be poured this week to ward off Milan's sometimes clammy April weather. He has also designed a V.I.P. lounge nearby, with an orange bar area, blood-red walls, and huge plastic lampshades by Fontana Arte hanging over a collection of wide white chairs by Poltrona Frau.
+The heart of 'Dining Design,' though, is the student work. Each school team was asked to create a design for a restaurant free of its national context: a pizzeria in Kyoto, or a sushi bar in Lausanne. The students and their faculty advisers came up with plans, some of them detailed down to the utensils, that were produced in full scale by Kartell, Magis and other Italian manufacturers.
+A Japanese restaurant for Helsinki, designed by nine students at the University of Art and Design there, had a minimalist charisma to go with an all-white palette. Carnivora, a steakhouse for Sydney, featured a more muscular look, with a front facade made from rows of hanging stools.
+A high point by all accounts was 'Partingline,' a French haute cuisine restaurant meant for Tel Aviv and designed by three students and as many advisers from the Bezalel Academy in Jerusalem. It takes its name, the catalog explains, 'from a technological term that describes the meeting or separation line between parts of an object.'
+Practically, that meant that the design was all about the lines dividing one space or culture from another and the gaps between them. It's hard to think of more potent themes for students from Israel. A bar running along the wall, zooming from hip to shoulder height and back again, managed to split and unify the restaurant at the same time. All the smaller items designed for the space, from nesting soup bowls to wine and water glasses that nestle against one another, each leaning on another to keep from toppling, extended the theme.
+Even the chairs, said Ezri Tarazi, head of the school's industrial design department, were meant to suggest both division and unification. Their backs were split, but the act of sitting down wedged them together.
+'It comes together in a click,' he said of one chair. He grabbed two others to demonstrate. 'See, all of these are clicking.'
+Then he went back to get more wine. It was a red -- from the Golan Heights. Like the Italians, he was finding a bit of uplift where he could, even in a bottle whose label practically advertised conflict.
+Next week, another report from the Milan furniture fair.
+DESIGN NOTEBOOK"
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+BUILT-INS capture the essence of the modern spirit. Sixty years ago, a sleek bookshelf-banquette combo or a new hi-fi cabinet integrated into a sofa stood for efficiency, ingenuity and a tidy liberation from the past.
+Broadly defined, built-ins are furniture that you can't take with you. Early Modernists, from Le Corbusier to Russel Wright, saw them as the antidote to stifling Victorian clutter and a way to streamline interiors for a life without hired help. The machine for living would be powered by built-ins. 'Clutter was a disease that modern architecture was going to cure,' said Donald Albrecht, a curator at the Cooper-Hewitt National Design Museum.
+The enthusiasm for built-ins lasted through the 1960's, but they then fell out of favor. They looked too clinical, and their immovability made it difficult to redecorate a room. Young couples on the move preferred bean bags and plastic chairs. Built-ins had lost their sense of mission. The postmodern era further reduced built-ins to all-purpose cabinetry made to match the period style of the moment.
+But needs have changed. While there is still plenty of clutter to combat, a new generation of architects is reviving built-in furniture not only to contain the chaos but, even more important, to provide custom-tailoring for the home. Once meant to make interiors more universal, built-ins have become personalized. From a chaise carved into a balcony overlooking a living room to an herb garden integrated into a kitchen counter, today's built-ins are as much about embellishing space as serving practical needs.
+'In our work lives, we're all sitting at computers in the same way no matter what we do, but at home, people are looking for a more unique experience,' said Robert D. Henry, an architect in Manhattan who has recently installed some 68 linear feet of built-ins into his 740-square-foot Upper West Side apartment for about $90,000. 'They don't believe in a one-size-fits-all aesthetic anymore.'
+Mr. Henry and his wife, Nancy S. Wu, also an architect, engineered their home with an eye to luxury as well as efficiency. Their studio loft is only 14-feet wide, but it has 20-foot ceilings with a bedroom loft overlooking the living room.
+'We could afford to waste space going up,' Ms. Wu said. And so they installed a 21-inch-high platform on the lower floor that allowed for a room-wide window seat, a built-in planter and a low tea table. The small pit created as leg room beneath the Japanese-style tea table doubles as a playpen and toy storage area for their 22-month-old son, Bo Alexander, who enjoys playing hide-and-seek under the hinged tabletop that folds back into the wall when not in use.
+The well for the tea table -- the couple call it 'the baby dungeon' -- is lined on four sides with drawers, with two of them deep enough for a set of skis. When guests appear, all the toys, Ms. Wu said, 'can be bulldozed out of sight in a minute.'
+'This way,' she added, 'we can still feel like we're streamlined and living a sports-car lifestyle.'
+Although the room is unusually narrow, one entire wall is largely given over to cabinets, most of which conceal bookcases. 'At one point, we decided that we just don't want to see our books anymore,' Mr. Henry said. 'They're not great editions, and we don't need to show off our intelligence, so we shut them off.'
+The teak veneer cabinets give way at one end to a coat closet and an enclosed work niche for Ms. Wu. Only five feet in height, her tiny office is no larger than a human cubbyhole containing a desk surface for a computer, a shelf and a chair. Its cabinet doors swing open to form an improvised wall for privacy.
+But the most inspired built-in is the balcony chaise carved into the parapet wall of the bedroom loft. It provides an efficiency that the early Modernists never anticipated: the need to schedule relaxation time.
+'The general inclination when people come up to spaces like this is to look over the railing and say, 'That's nice -- now where do I go?' ' Ms. Wu said of the bedroom large enough for little more than the bed (which Mr. Henry designed himself and which has a built-in candlestick) and a lamp. In fact, Ms. Wu never spent any time there herself until her husband suggested the chaise.
+Made of carefully aged -- rusted -- steel, the chaise is bent to fit the exact dimensions of Ms. Wu in repose. ('We kept cutting out cardboard models and making her sit in them until it fit,' Mr. Henry said.) It is softened with a cotton pad; a mink bolster supports her neck. 'It gives me a reason to stay in one place for a while,' Ms. Wu said, adding that her perch allows her both to read and to keep an eye on Bo playing below.
+While they save space, the new built-ins can also enrich the home in unexpected ways. 'I belong to a generation that grew up in 2,500-to-3,000-square-foot homes,' said Anna Simone of Cecconi Simone, an architectural firm in Toronto. For many city dwellers, that kind of room to grow in is now unattainable, and they are forced to settle for less. 'But people still want the same feeling despite the smaller size,' she added.
+Ms. Simone has found that built-ins afford a new dimension for smaller spaces -- adding shelves that are beyond everyday reach. 'I tell clients to think in cubic footage, not square footage, when buying something,' she said. 'Figuring out how to translate vertical space into usable space is more critical than ever. I put a ladder in one project, and after that everyone started asking for one.'
+The new approach to built-ins is not confined to cabinetry. Ms. Simone uses them for their extra space -- and to introduce a welcome taste of nature. 'People always gravitate to what's missing in their environment,' the designer said. To that end, she has installed herb gardens into kitchen counters equipped with plant-friendly lighting. 'Healthy cooking should be easier than it is,' Ms. Simone said.
+And for homes without fireplaces, she has designed a free-standing mantle inset with candles. 'Modern life tends to zap all our energy,' she said. 'What designers really need to do when it comes to built-ins is build in whatever they can to replenish and inspire.'
+The revival of built-ins comes at a time when the interiors of single family homes are actually getting larger; there has been an increase of 4.1 percent since 1997, to an average of 2,055 square feet last year. Once essential for stashing surplus, built-ins now also serve to help organize hectic lives. (Mr. Henry took special care to provide a handy shelf dedicated to keeping the daily mail out of sight, not out of mind.)
+Myrna Kaye, the author of 'There's a Bed in the Piano: The Inside Story of the American Home' (Bulfinch, 1998), dismissed the notion of built-ins as primarily providing storage. 'The more important drive is the need to organize time, so that we can fit four lifetimes into one,' she said.
+Joseph D. Tanney, a New York architect, would agree. His small firm, based in Manhattan, weaves furniture and storage into an ornate piece of architecture that serves the same purpose as walls: to divide rooms. 'Clients think of it as handling a need to store stuff,' Mr. Tanney said. 'We like to say it's not just accommodating but defining space.'
+His own loft in Brooklyn, though hardly cramped at 11,000 square feet, is designed to be as trim as a yacht. 'It's not so much about building in furniture as carving the wall itself,' Mr. Tanney said. He added that built-ins are custom work that can range widely in price. In his projects, which use Baltic birch, the cost ranges from $250 to $1,200 a linear foot, depending on the job.
+And so an open bookcase wraps every wall surface and floats over a door, then turns a corner to shape an office. In one corner, bookcases morph into a bunk bed for the children. (The lower bunk is twice as wide as the upper so that the parent reading bedtime stories doesn't fall out.)
+In the kitchen, a serving island neatly turns into a table, where his family settles to eat meals, work on the computer and do homework. 'It's where we spend most of our time together,' Mr. Tanney said.
+Determined that this protean built-in piece works precisely, the architect called his wife late at night while drafting the design to make sure that the shelves were sized exactly to fit her favorite brand of olive oil on one shelf, his seltzer bottles on another, and that the shelves supporting one end of the table would be wide enough for stacking discarded newspaper sections.
+The real value of today's built-ins is building in peace of mind. 'I found that when there's a place for everything,' Mr. Tanney said, 'and when everything is in its place, things are a lot more tranquil.'
+DESIGN NOTEBOOK"
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+SOME houses are built around a view, some around a hearth, some around the kitchen. But rare is the home predicated on celestial events. In architectural history, the buildings that channel sunlight are usually religious structures that materialize light, as though the finger of God were making a divine point by marking space at a designated time.
+At Josephine Withers's house in this forested area across the Potomac River from Mount Vernon, the star of the show, for the six months starting in September and ending in March, is the sun, which peers in through the long, high clerestory windows on the south side of her two-story living room and strikes coated glass and mirrored metals suspended from the ceiling. The work, by Janet Saad-Cook, sends back a 'light painting' across the south wall.
+In early September, the angle of the sun makes the painting merely flicker. By now, the painting is in full stride, fluttering as the remaining leaves filter the sunlight. At the winter solstice, with the leaves completely gone and the sun at its nadir, the chromatic apparitions achieve full bloom. Then over the following months, the show fades and gradually expires.
+When Ms. Withers asked McInturff Architects of Bethesda, Md., to design a modest, 1,500-square-foot house on a rural site in Maryland, she spelled out her many requirements in a letter. She wanted the house to follow feng shui principles; it should face and frame the forest out back, with its oak, beech and holly, and it should have a horizontal ity to complement the contours of the land.
+She stipulated its character -- informal, calm and serene -- without specifying any architectural style. In addition, she asked the architects to collaborate with Ms. Saad-Cook, who works in Arlington, Va., to create a wall that would serve as a canvas for a projected light piece.
+The two women have been friends for many years, and Ms. Withers has seen Ms. Saad-Cook's work evolve from 1970's sculptures composed of gauze, bamboo reeds and sisal (earthy materials that interact with direct sunlight) to work that uses light, itself. Ms. Saad-Cook uses optical instruments to reflect, refract, split, shape and throw light onto nearby surfaces in moving washes of color.
+Though the tradition of using natural light to interact with a space is ancient, Ms. Withers, an associate professor of art history at the University of Maryland at College Park, places her friend's work in a Modernist tradition. (Other contemporary light artists include Robert Irwin, James Turrell and Doug Wheeler.)
+Ms. Saad-Cook's shifting color fields set off chromatic events that have a life of their own, the colors mixing unpredictably in intensities that depend on the weather, time of day and angle. One of Ms. Saad-Cook's pieces is at the Haystack Observatory outside Boston.
+'We are always thinking about light in architecture -- that's fundamental to our work,' said Mark McInturff, the principal in McInturff Architects. 'But we'd never worked with a light artist.'
+Stephen Lawlor, the project architect, said that he and Mr. McInturff first met Ms. Saad-Cook in her loft, where she bends metal or glass reflectors and coats them with chemicals to absorb or reflect light.
+'Her whole studio was devoted to tracking the movement of the sun, with chalked notations traced all over the floor,' he said. 'We were blown away. It looked like something out of Copernicus.'
+Ms. Saad-Cook has visited the great 18th-century observatories in Jaipur and Delhi, India; the pyramids of Mexico; and the kivas of Chaco Canyon in New Mexico, to ponder their solar mysteries. In India, she recalls being in a dark astronomical tower and seeing an intense beam of light slipping off a curved table and shattering on the floor. 'An unforgettable experience, right up there with childbirth,' said Ms. Saad-Cook, the mother of three.
+She added: 'Light, it's like a fickle lover. He's not there when you need him; he's all over the place when it doesn't matter.'
+The sun drove decisions at Ms. Withers's bucolic 11-acre site. 'The sun told us approximately where the house wanted to be located, because there was a clearing, and we needed southern light,' Mr. Lawlor said.
+The architects sited the house in a clearing on a saddle sloping down to two ravines and a stream, and worked with an astronomer, Peter Boyce Sr., Ms. Saad-Cook's mentor. Mr. Boyce made a printout showing architectural sections of the building and windows, and he worked up a chart following the path of the sun to show what months the sun would be active with respect to the proposed light piece.
+'He and Janet are really able to hash out anything,' Mr. Lawlor said. 'I remember a whole discussion about how a special gimbel mount would maximize the amount of sun. He had one opinion, she had the opposite, and it was a battle between art and science right there.'
+Ms. Withers's most demanding requirement was the cost. 'I definitely had a budget,' she said. The result was architectural simplicity -- a two-story gabled structure as rudimentary as a Monopoly-board house but split into halves spanned by a covered bridging structure. The flat-roofed bridge is glazed on the north side facing the forest, and is clad in corrugated metal on the south side, where Ms. Saad-Cook's light piece is projected.
+'The budget encouraged us to keep the square footage down and to minimize foundations, which led us to think of spanning from one side of the house to the other,' Mr. Lawlor said. The cost for the house worked out to $100 a square foot, or $150,000, without road and septic work.
+'We called it a 'case study house in inexpensive construction' on the drawings that we gave out to the contractors for bids,' Mr. McInturff said.
+The architects cut costs by deploying generic details and materials, like asphalt shingle siding, Ikea cabinets and $8 exterior light fixtures used throughout the interiors. The rudimentary nature of the down-home house might have inspired Edward Hopper, except for the radical cut down its middle. The house is simultaneously a traditional building and an architectural abstraction.
+Inside, the two-story volume looks like a loft and acts like a plaza between the two bookend structures, where two bedrooms and a study are located. An interior bridge, whose rails act as a truss, connects the two halves of the upper story. The architects designed the two metal struts suspended from the ceiling, which hold up the reflective instruments.
+'The simplicity of the interior is disciplining me,' said Ms. Withers, who moved into the house last year  after living in a Victorian environment where clutter looked good. 'It did cross my mind to move paintings onto the south wall during the other half of the year, but now that I'm here, I like it plain.'
+The house has had a profound effect on her consciousness. 'It's been cleansing to get rid of stuff,' she said. 'It lightens me up. I could cram it full of books, but I don't do that, because this house demands a cleanness. The house is speaking to me, and I'm willing to submit to that discipline.'
+Besides becoming more aware of the light, Ms. Withers says she notices the forested setting because of the way the windows frame the trees. 'Those are the gifts of the house,' she said.
+The house has also made itself a gift to the neighbors, for whom the sun drawing has become a local landmark: on sunny days during the darker and colder months, they bring friends over to see the south wall.
+Ms. Withers was surprised by the first glimmerings of the sun drawing in early September. 'I wasn't waiting for it,' she said. 'It's ephemeral. You can't nail it on the wall, and yet it returns tomorrow, it returns next year.' Next September, she said, she will be waiting.
+DESIGN NOTEBOOK"
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+AT a $1,000-a-plate benefit on Oct. 1 with the actor Brad Pitt as host, this city will toast the restoration of the Robert R. Blacker House, a national treasure and one of the celebrated Ultimate Bungalows designed at the turn of the century by the Arts and Crafts architects Greene & Greene.
+The force of nature drawing movie-industry executives here from Paramount Pictures, Universal, Walt Disney and the Creative Artists Agency is the rebirth of a wooden house. Since the 20-room heavy-timbered mansion, with its covered terraces and sleeping porches, was built in 1907, deferred maintenance had taken its toll. But what seemed to be irreparable damage -- what Pasadena's preservationists call 'the rape of the Blacker house' -- occurred in 1985, when the stately home was stripped of approximately 60 custom-designed light fixtures, stained-glass doors and window transoms, many of which were sold on the art market as body parts.
+Often, historic buildings are done in by the rising value of their land. The Blacker house was sabotaged from within, by its irresistible lamps and lanterns. Barton English, a collector from Texas, bought the house from its owner, Marjorie Hill, for about $1 million and within weeks of its purchase had dispersed the lamps, some for his private collection and some for sale.
+Mrs. Hill said that at the time she couldn't understand why Mr. English kept counting the fixtures. Speaking by phone from Fredericksburg, Tex., Mr. English said he was basically acting on a comment made by Randall Makinson, who at the time was the director of the Gamble House (another Greene & Greene masterpiece in Pasadena), which was relayed to him: 'Randy Makinson mentioned at a party in Pasadena that the house was for sale and that anyone who bought it could make a killing on it.'
+Some of the lamps fetched $100,000 each, and at least one of the more imposing chandeliers sold for about a quarter of a million dollars. A handful of fixtures was sufficient to cover the price of the house. (Mr. English declined to give figures.)
+Pasadena citizens, including Mr. Makinson, loudly declared their outrage, and with the support of Pasadena Heritage, a preservation group, the city passed an emergency ordinance that slowed further removal of the pieces. Citizens guarded the house in cars parked out front.
+Mr. English sold the Blacker House in 1988, never having lived in it. The removal of the fixtures had violated the integrity of Greene & Greene's design. The brothers had created interiors that were symphonies of carefully orchestrated parts, and suddenly the first violin section was missing in every room. One of the finest works of American architecture had been desecrated.
+Its saviors were Harvey and Ellen Knell, who had kept loose tabs on the house since 1981. 'We drove by and stopped, and I didn't care what it looked like inside,' Mr. Knell, 54, recalled. 'I loved the house. I wanted to buy it.' Even though the couple were in escrow on another Greene & Greene house, they leaped at the chance to buy the Blacker house when they learned it was being sold in 1994.
+The Knells, working with Mr. Makinson, now a restoration architect with a specialty in Greene & Greene, and James Ipekjian, a master craftsman, have restored the shell of the building inside and out. The last of the 60 lamps replicated by Mr. Ipekjian was installed on Sept. 30.
+'I was granted an audience with a couple of originals in New York,' Mr. Ipekjian said.
+Mr. Knell, an investor whose family once owned a chain of building supply stores, said, 'We didn't do anything we didn't need to do, but we needed to do much more than we thought.'
+The Blacker house was predicated on grandiloquent understatement: Charles and Henry Greene had developed a democratic style popular among social liberals with progressive ideas about women's suffrage, national parks, healthy living environments and the development of an American architectural style independent of Europe's aristocratic architectural attitudes. Living simply amounted to a virtue, and a crafted house represented moral integrity.
+Pasadena itself lies at the foothills of the majestic San Gabriel Mountains, and the Greenes landscaped the original five-acre site with a quarter-acre lily pond and a timber pergola stretching toward the view of the San Gabriel Valley. They conceived the house as a pavilion in the garden.
+Appropriately, Mr. and Mrs. Knell start relating their saga while on the covered terrace off the living room, which delivers the epiphany of the house: on a brilliant Saturday afternoon, with the close-up view of the mountains and gentle breezes touching the skin and rustling the leaves, there is little reason to think that heaven could be any better.
+The genius of the Greenes was their ability to visualize and idealize this nature architecturally, through materials, forms and metaphor. The open timber framework allows breezes and views through the house.
+This newly re-established state of grace was the result of four years of planning and hard work. The Knells completely rewired the house and redid the plumbing, upgraded its structure to withstand earthquakes and threaded ventilation ducts through the framework. They removed every shingle, stripped the timbers back to the grain and replaced nearly all the tail rafters cantilevering beyond the roof line.
+In one of the early architectural efforts to bring the outside in, the Greenes detailed the major rooms to resemble the timbered porches. Inside, the terrace's wood columns and trusses are suggested with appliques of mahogany and teak, so that the rooms evoke the open-air spaces protected by parasols of wood.
+In the living room, the frieze ringing the top of the wall is a shimmering gold-leafed version of the lily pads that once floated in the pond. Baskets of stained-glass flowers are suspended from ceiling beams that seem an indoor arbor -- like the wisteria dripping from the heavy beams of the pergola in the yard. The blossoms of light in the living room cast light up onto the mahogany beams. 'The lamps are more important for the effects they produce than for their presence as separate objects,' Mrs. Knell said.
+For public tours, which begin on Oct. 2, and for the benefit tonight and for another one on Saturday for Pasadena Heritage, museums and private collectors have lent furniture that might have been used in the house, including some Blacker originals designed by the Greenes. Otherwise, the Knells are living like Bedouins. With the restoration of the house's shell, they have just started to furnish the rooms: they have only bought Oriental carpets. The Knells and the youngest of their three sons, Lorin, are using the expansive mansion as a two-bedroom house, with a family room in the old billiard room in the basement.
+The teak-paneled entry, with a massive stairway and beamed ceiling, is one of the most dazzling domestic visions ever built in the United States: the Greenes structured the staircase and upstairs landing with heavy brackets, corbeled beams and a woven wood handrail. Stained-glass doors on either side of the front door open for breezes that cross the space to the wall of doors at the far side facing the garden.
+At the corner landing, where the staircase turns, a bay window of stained-glass grape vines emphasizes California's beneficent climate, as do the Japanese-inspired lamps hanging from the beams of the entry way: the Greenes are again suggesting that the inside is really an outside space. One of the most brilliant touches is the redwood frieze on the second-floor landing, wire-brushed so that grain patterns recall skies striated with clouds.
+Painstaking chromatic archeology revealed that a dusty green in several shades was the original color of the plaster walls. 'The dark color gives life to the wood,' Mrs. Knell said. 'The white we found when we bought the house made the wood look dark and dull.'
+Poking about in basement cavities, the restoration team found small slivers of the original shingle, retaining remnants of color. They located the paint company that originally produced the transparent oil stain -- again, a dusty green. Each shingle was hand dipped in the stain (reformulated and now sold by the company) and today the facade is a lively but gentle chromatic mix: green on the shingles, brown on the structural beams and natural blond on the frame holding the screens.
+'It's the first time in 50 years we've seen the exterior of a Greene & Greene house the way it should be,' said Mr. Makinson, author of a new book, 'Greene & Greene: The Passion and the Legacy.'
+The recovery of the colors encourages the interpretation of the house as a garden pergola that happens to have plaster walls. The house is not a wall building, like the many Spanish colonials in the neighborhood. It reads instead like a skeletal frame structure with panels that can be imagined away to allow views of the nature that infuses the design and makes the house thoroughly and innovatively American.
+Public tours ($30 a person; $25 for those 65 and older and students) are available Oct. 2, 3, 4, 9, 10, 11, 16, 17 and 18. Proceeds will largely be used to restore the exterior of the Gamble House. Information: (213) 740-8687.
+DESIGN NOTEBOOK"
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+TALK about chewing  scenery.
+Pop, which opened last month on Fourth Avenue near 12th Street, is much more than just a deafeningly hot eatery with no sign in front. Read the menu. Not the entrees and appetizers, but a page at the back titled 'About Pop.' It's a mouthful.
+'Pop is based on the post-war social idealism and trust in technological innovation, mass production and prefabrication. While it resonates with this mid-century American dream, Pop has been realized with end-of-the-century means.'
+The author is Ali Tayar, the architect who conceived Pop, a 2,500-square-foot temple of neo-retro chic. The banquettes are blondly Scandinavian, like many of the models occupying them, and backlighted with slivers of primary color. The ceiling is a matrix of cherry-red steel. The jumpsuited wait staff look like gas station attendants styled by Helmut Lang. But Mr. Tayar's 200-word manifesto, which could have been written for an installation at the Whitney Biennial, has left some diners scratching their heads.
+'It's just so over the top,' said David Swail, a Canadian newspaper executive, who had dinner there a couple of weeks ago. 'If they could have told me half as much about the food, we would have been better off.'
+Citing influences like Eero Saarinen's T.W.A. terminal at Kennedy International Airport and 'the trailers of 'Dr. No' and 'Contempt,' ' the text goes on to explain that the 'Mondrianesque colors' also pay tribute to that same 'homaged era' -- the 60's.
+In short, it's a mod, mod, mod, mod restaurant. It also signifies the convergence of two ineluctable restaurant trends.
+Trend No. 1: The anti-Balthazars. Ripped from the pages of Wallpaper magazine, they are the antidote to the fake French bistro: Cafeteria, the space-age luncheonette on Seventh Avenue, across from Loehmann's; Lot 61, the industrial gallery/ meet market in West Chelsea, and Waterloo, also Mr. Tayar's handiwork, a garage-like eatery in Greenwich Village.
+Trend No. 2: High design is now as important as haute cuisine.
+Menus used to rhapsodize about the chef's vision and the provenance of arcane vegetables. Pop's doesn't even mention the guy in the kitchen, Brian Young, a former chef de cuisine at Le Bernardin. At Michael Jordan's: The Steakhouse, a sticker has been added to the bill of fare: 'Winner of Interiors 1998 Best Designed Restaurant in the Country.'
+Drew Nieporent, the restaurateur, won't make a move without David Rockwell, the designer. Their most recent collaboration is the Berkeley Bar and Grill in the Sony Building. Adam Tihany, the architect, is as famous as many of his clients. On the menu at Artos, a Greek restaurant on the East Side, his name appears before the chef's. The Zagat Survey's populist point system gives equal weight to decor, food and service.
+These architects -- a profession about as well known for modesty as the chef trade -- acknowledged the increased prominence but professed horror at the idea of putting their names on menus.
+'People do get carried away with their egos,' said Mr. Tihany, who identified himself as 'one of the original people that created the profession of restaurant design.' The designer and owner of Remi, in midtown, he has been at it for 16 years. His credits include Le Cirque 2000, Jean Georges and the Las Vegas outpost of Aureole, where a wine steward in harness flies up and down a 42-foot-tall glass wine tower to fetch bottles for high rollers.
+Told that Artos was advertising his name so prominently, Mr. Tihany professed ignorance of the plug and dismissed it. 'It's a marketing ploy,' he said. 'Good design is a marketable commodity for restaurant owners and operators, especially if they can associate themselves with big-name designers.'
+Mr. Rockwell, probably the field's closest thing to a household name, also said he was unaware of any restaurants touting his work on the menu. But few reviews of Rockwell-designed establishments -- from Nobu's Zen minimalism to the overstimulating maximalism of Ruby Foo's -- fail to mention his theatrical, conceptual environments.
+'It's about a collaborative process,' Mr. Rockwell said. 'We try to create another reason for people to go in.' Mr. Tihany and Mr. Rockwell insisted that they serve the chef-operator, not the other way around. 'You don't want to come out of a show singing the sets,' Mr. Rockwell said. 'And you don't want to come out of a restaurant singing the design.'
+Mr. Tihany says he thinks of himself as a portrait artist, adding, 'My restaurants are portraits of my clients.' The 40-foot wine tower is Charlie Palmer, Aureole's owner, he said, just as the plush carnival playroom of Le Cirque 2000 is Sirio Maccioni. 'People ask, 'What drugs were you taking?' ' he said. 'But what you see is who they are.'
+Architects used to dream about designing one great chair, Mr. Tihany said. Now, it's one great restaurant.
+Mr. Tayar, 39, sounded somewhat embarrassed at having his design prospectus, originally written for Pop's press kit, included in the five-page menu, right after the desserts.
+'I didn't want it to go in there,' he said. 'But Roy thought that's where it should go.'
+Roy is Roy Liebenthal, Pop's owner. After opening Cafe Tabac and Lemon, Mr. Liebenthal has become a specialist in catering to the young, the beautiful and the people who want to eat near them.
+'Roy has an incredible obsession with design,' Mr. Tayar said. Mr. Liebenthal readily admitted to it. 'The design speaks about the soul of the place,' he said. 'I've heard a lot of people say the place looks very Wallpaper. I take that as a compliment.'
+Other people have said they found Mr. Tayar's elaborate mission statement 'a bit pompous,' Mr. Liebenthal conceded. The dropped ceiling is described as 'a riff on standard acoustical tile systems,' although its most notable acoustic feature is that it puts the din in dinner. The ceiling, Mr. Tayar writes, also contains the 'HVAC' -- a technical abbreviation for heating, ventilation and air-conditioning.
+Mr. Liebenthal's spin is that it's supposed to be pompous. 'I don't even understand it,' he said. 'I thought it played into the whole futuristic karma of the restaurant.'
+Mr. Tayar, who designed airplane hangars before he got into restaurants and now sells a line of furniture through ICF, has a sense of irony about his exaltation by Mr. Liebenthal. 'I kept thinking, as soon as someone has to wait too long for the food, the first thing they're going to pick on is the text,' Mr. Tayar said. 'They're either going to agree, disagree or make fun of it.'
+Check.  DESIGN NOTEBOOK"
+False,False,False,False,False,True,True,False,False,False,True,True,True,True,False,True,False,False,False,True,False,True,False,False,True,False,True,False,False,False,False,True,False,True,True,False,False,False,True,True,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,True,False,True,False,True,True,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,True,True,False,False,False,True,False,False,True,True,True,False,False,False,True,False,False,False,True,False,True,False,True,False,False,True,False,False,False,True,False,False,False,True,False,True,False,False,False,False,False,True,False,False,True,False,True,False,True,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,True,False,False,True,True,False,False,True,False,False,True,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,True,True,False,False,False,False,False,False,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,False,False,False,True,False,False,True,False,False,False,True,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,True,True,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,True,True,False,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,False,False,False,False,True,False,True,False,False,False,False,False,True,True,False,False,False,False,False,False,False,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,True,False,False,False,False,False,False,True,False,False,False,False,True,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,False,"In Milan, Form Follows Fashion
+LAST week, at the 40th annual International Milan Furniture Fair, the world's premier modern furniture exhibition, design and fashion paired off in a flamboyant tango. The trends flew like so many sparks from clicking heels -- passion shades of pink on orange, glossy metals and lean curves. Worn by a supermodel or by a divan -- it no longer matters.
+'Designers and architects have a lot to learn from fashion,' said John Pawson, the London architect, who is designing a new Calvin Klein shop in Paris. 'They shouldn't be so blinkered. Haven't they cottoned on that things have changed? It isn't just about making designs to last a thousand years.'
+Nowhere was fashion's pumped-up energy more evident than at an architecture exhibition by Prada, showing off projects in the works by Rem Koolhaas and Herzog & de Meuron. Visitors milled around architectural models and tables as long as Olympic pools piled with unusually treated building materials like latticed resin walls and foam shelving. Meanwhile, house music throbbed and videos of Prada's shoe collection flashed above a concrete catwalk.
+'This is the year fashion swallowed design whole,' said Deyan Sudjic, editor of Domus, the Italian design magazine. 'And after wanting fashion's attention for ages, design is already starting to regret it.'
+Even as design and fashion cozied up, the spectacle of Pucci-clad swivel chairs, rhinestone sofas and ceramic vases zippered in leather left some wondering whether the pair made a good match at all. 'It's a total disaster from an intellectual point of view,' said Vico Magistretti, a patriarch of Italian design. 'In the 60's, we tried to design concepts because they did something that needed to be done. Now it's all styling.'
+The style spree has apparently not been stalled by looming economic setbacks. Financial worries were not in evidence at the six-day fair, which ended on Monday and was attended by 175,000 people, 6 percent more than last year. And Americans seem more entranced than ever with Italian contemporary design: Italian furniture imports to the United States rose 21.9 percent in 2000, with Americans spending more than $920 million, second only to Germany.
+Milan saw more flash than form-making. The mood was giddy and more preoccupied than ever with the next big thing, even if it was a no-show.
+But while slick surface decorations and stylized silhouettes grabbed the public's eye, the designers themselves were trying to decide how best to harness new technologies and unconventional materials like polyester films that shift between transparency and opacity, according to the angle of view, and quartz surfaces in intensely luminous colors.
+One season of fabulousness will probably be the shelf life of some fashion-sensitive offerings. Pink and orange stretch plaids and blowsy pink and red roses dressed up last year's prim low-backed sofas from Edra. Massimo Morozzi, Edra's art director and blithe spirit, said the prints, new from the Op Art fabric master Ken Scott, express a 'desire for ecstasy and optical illusions in order to compensate for the emotional poverty of minimalist design.' Splash your living room in Edra's pinks -- just don't put them next to Cappellini's mod armchairs in vintage Emilio Pucci floral psychedelics. Suggested attire? Sunglasses.
+Practicality dashed off with flair was the hallmark of furnishings by the newcomers. Jeffrey Bernett, a New York-based designer, introduced an orange felt chaise as spare as a semaphore. A white leather pillow with an inner magnet attaches to its backrest at any angle ($3,200 at B&B Italia). At the exhibition hall devoted to emerging talent looking for the big break, Tron Design of Germany adapted car seat technology to a two-person rocking cocoon equipped with a computer on a steel extension arm.
+At Milan's sprawling fairgrounds, some 1,650 exhibitors showed off their latest works. But breakthroughs are usually found at the 200-odd impromptu furniture showcases scattered among palace courtyards, garages and former steelworks around the city. This year, however, that traffic-jamming citywide happening failed to produce much in the way of truly provocative design.
+If the year belonged to anyone, it was Cappellini. The company, known for tapping new trends and far-flung talents, outdid itself with some 40 introductions, including sofas, kitchen sinks, shelving and light fixtures displayed in an industrial hangar far from the gold-plated shopping district along the Via Monte Napoleone. It was a tutti-frutti affair, with minimalism offered up alongside pop fashion, computer tech and amoebic forms.
+The Cappellini collection included works by Erwan and Ronan Bouroullec, brothers from Brittany, who recently designed a new shop for Issey Miyake in Paris. As with their tree-house bedroom last year, the Bouroullecs are still experimenting with ideas about poetic practicality. 'We don't want to make only functional pieces,' said Erwan Bouroullec, pointing to a table sprouting a bowl molded from a single piece of heat-welded Corian. 'This is not just a table, and we don't want to tell anyone whether it functions as sculpture in the middle of a room or as a place to toss your keys by the front door. Put it anywhere and use it your own way.'
+In the show's most pronounced case of fashion cross-over, Fabien Baron, a former art director of Harper's Bazaar, eagerly presented his first collection of furniture, rugs and limited-edition cast-acrylic block sculptures commissioned by Cappellini.
+Graphically severe, with legs as skinny as a Vogue intern and done up in optional gray-flecked felt and anthracite leather, these furnishings would appeal to the image-conscious. Paola Antonelli, a design curator at the Museum of Modern Art, summed up the general reaction when she called the collection boring but said, 'It will probably sell like hot cakes.'
+Buyers, manufacturers and journalists combed the city in vain for the next hot designer and must-have chair. The real stunners were raw materials up for adoption from other fields, most of which have not yet reached the production line. The Prada Foundation, a vast, vaulted space, contained, among other curiosities, a two-story section of the diamond-shape glass and steel facade bound for Herzog & de Meuron's Prada store in Tokyo. On the wall, a map outlined Prada's plans to dominate the world with boutiques.
+Prada wasn't the only advocate of a new design aesthetic based on textures and transparencies. The display by Material Connexion, a New York-based clearinghouse for experimental products, was thronged with people taking notes and squeezing the gel samples. Two glass manufacturers from Barcelona, Spain, shook their heads in dismay as they read a label describing a stack of gem-toned acrylic sheets as 50 percent lighter than glass, with three times the impact resistance of safety glass. Caressing the satiny two-toned green sheets, Erika Zangger, a restaurant designer from Austria, said, 'These are ideal room dividers, better than glass in every way.'
+There was a surprising lack of technological derring-do in the furniture design, however. (With one exception: Ron Arad's long-awaited prototype of a dining chair that folds and slides like a drawer into a table. Sheer engineering bravado, though it remains to be seen if Cassina can figure out how to produce it.)
+Instead, there was a renewed appreciation for the artistry of craft, even the machine-made variety. Fernando and Humberto Campana, an architect and a lawyer from Brazil who are now designers, chose to hand-weave industrial trash -- in this case, garden-hose tubing in fluorescent pinks and purples wrapped around an O-shaped steel frame, for Edra. 'I work with my hands to learn the limits of the material,' said Humberto Campana, 'but the shapes themselves come from my dreams.'
+In a bit of riveting theater, at a 16th-century church, 19 well-known designers were invited to create machine-made designs on the spot with an acrylic extruder, normally used to mix color combinations for plastics. The event was conceived by Domus and Tom Dixon, the design director at Habitat, who sees a future in instant crafts. 'People love to watch other people making things,' Mr. Dixon said. 'It's like taking a Polaroid of the maker's ideas about design.'
+It was even suspenseful as Karim Rashid, a New York designer, tried to control the dribble of hot-pink acrylic noodles looping over a cardboard and wood chair mold. He also cast his own custom-made Puma sneaker, as a memorial to one stolen (or collected by a rabid fan) at a party the night before.
+Even if there were no star turns, there was no shortage of creative potential. Sputnik -- a casual consortium of designers from the Americas, Japan, the Netherlands and England -- struck the pitch-perfect note when it showed prototypes not for chairs but for what the designers call 'verbs about sitting.' One was a large rattan floor piece resembling a lima bean with a dent. People lined up to test its gentle rock, and one bystander suggested its ideal function: to allow one to hold the lotus position while reading fashion magazines.
+DESIGN NOTEBOOK: FURNITURE FAIR"
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+THERE were no suntanned, silver-haired corporate angels on hand on July 14, when Hillary Rodham Clinton visited the Dutch Reformed Church here to talk about historic preservation. Her backdrop was the derelict Greek revival temple by Alexander Jackson Davis, completed in 1835, once an uplifting symbol of the city's material progress and now an evocative, camera-ready testament to urban decay.
+'What does it mean to save a building?' Mrs. Clinton mused before a large crowd assembled in the sweltering heat. 'When a town like Newburgh is able to revitalize its history, you become a beacon of economic development and tourism.'
+By saving landmarks and living with them daily, 'you begin to tell yourselves and your children the story of Newburgh,' she observed. 'That makes America more real.'
+The day before, the President and the First Lady shared the dais at the National Museum of American History with Ralph Lauren, announcing with much hoopla the designer's $10 million rescue of the flag that inspired 'The Star-Spangled Banner,' (presumably this flag is off-limits for Mr. Lauren as a style phenomenon).
+The dueling images -- Mr. Lauren as patriotic savior and a vacant city church without a patron -- underscored the paradox of Mrs. Clinton's 'Save America's Treasures' tour: For every million-dollar pledge by a Ralph Lauren or G.E. to rescue a star, there were humbler places like the Dutch Reformed Church or the Colonial Theater in Pittsfield, Mass., waiting for deliverance. Who should pay to preserve them?
+The First Lady made a pledge herself, donating royalties from a coming book of letters to the First Pets to the National Park Foundation. (The nonprofit foundation announced this week that the Coca-Cola Foundation was donating $1.5 million to pay for hands-on discovery centers at nine national parks.)
+In an interview, Mrs. Clinton said that government -- Federal, state and local -- should bear a large part of the financial burden for historical preservation, supplemented by public-private partnerships. 'Government has the primary obligation,' she said. 'But there are also many people with resources who might not have thought about the contribution they could make.'
+Although state and local governments made forays into preservation at least as early as 1816, when Independence Hall in Philadelphia was purchased and restored, ever since the Mount Vernon Ladies Association rescued George Washington's mansion and grounds, preservation in the United States has relied on contributions and philanthropy.
+The most notable Federal exception, the National Historic Preservation Act of 1966, created the National Register of Historic Places, which now has nearly 80,000 entries, and a program of matching grants for their preservation.
+But practically from the beginning, preservationists have had to be skillful quilters, piecing together funds from public and private sources. The private role in public monuments was perhaps most strikingly illustrated by Lee Iacocca's successful campaign to restore the Statue of Liberty and Ellis Island, which raised more than $400 million.
+A leader in public preservation has been the National Trust for Historic Preservation, which has received money from Congress since 1966, but will lose its financing next year. Three years ago, after Congress threatened to pull the plug, the National Trust negotiated a three-year $7 million phase-out and has since been building a war chest to privatize itself. 'We're comfortable with it,' its president, Richard Moe, said. 'The funding fight became a preoccupying thing that distracted us from the issues. We want to be more effective and entrepreneurial.'
+At the national parks, the repair backlog for historic buildings is more than $1 billion. Three years ago, an experimental program began that returned park entrance fees to the parks; it will generate about $400 million in the next several years, said Edward Norton, vice president for law and public policy for the preservation trust.
+The House Appropriations Committee is considering a bill to increase funds for rehabilitating historic buildings in the national parks and to stabilize the deteriorating south side of Ellis Island.
+'We're definitely making progress,' Mr. Norton said.
+But in places like Newburgh, when the tour bus pulls out and the bunting is folded, financing  will probably depend, as it always has, on the grit of a determined few. 'Preservation is the most underrated catalyst for urban rebirth nationwide,' said Roberta Brandes Gratz, author of 'Cities Back From the Edge: New Life for Downtown' (John Wiley & Sons, 1998). 'The most desirable neighborhoods from Atlanta to Seattle are historic districts. But preservation hasn't gained the star status that big stadium and casino projects have because it happens in small increments.'
+The Pittsburgh History and Landmarks Foundation, for example, a model of creative financing, has spent three and a half decades cobbling together reinvestment in formerly low-income, redlined historic districts, neighborhoods that Jane Jacobs once compared to 'a working man's Georgetown.'
+The Pittsburgh foundation, said its president, Arthur P. Ziegler Jr., has set up a partnership with 11 local banks to provide low-interest loans to community-development corporations for low- and moderate-income housing and small businesses in the historic district. The foundation also provides architectural assistance. It  set up a $25 million endowment by developing (and then selling) Station Square, a historic railroad station, now housing a hotel, restaurants and other businesses. The project, developed over 20 years, began with seed money from the Allegheny Foundation, heirs to the Mellon fortune.
+On a smaller scale, Newburgh is beginning to use the same financing tools. On Lander Street, a block long plagued by drugs and abandonment and which Mrs. Clinton visited, Arnold Moss, a New York developer, is rebuilding 33 vacated 1850's row houses. Working with the Enterprise Foundation and Rural Opportunities, a nonprofit organization that manages affordable housing, he is knitting together private financing (about 80 percent of the $9.5 million needed), state, city and Federal funds and Federal tax credits for low-income housing and historic buildings.
+The row houses are being designed as two-family duplexes, which will rent for $500 to $750 a month. The sight of old buildings beginning to look new gladdens Margie Peacock, who has lived on the block for 15 years. 'It's not a bad place to live,' she said, sitting on her porch, where a sign that says SANTA  IS  ALWAYS  WELCOME  HERE  hangs on her doorknob. 'I love to see it kept up.'
+T HE monumental Dutch Reformed Church, modeled on an Acropolis temple and considered one of the finest Greek revival churches in America, may have a tougher go.  Davis, the 19th-century architect, wrote that the design, with its giant Ionic columns and 30-foot-high entrance door, was meant to be 'indicative of the refined taste, discrimination and sense of classical beauty of the inhabitants of Newburgh.' But the church lost its congregation in 1964 and has been vacant since. 'It is one of the noblest buildings in the city,' said J. Winthrop Aldrich, New York's Deputy Commissioner for historic preservation. 'But it looks so derelict today, it's hard to imagine what it was or might be.'
+The preservation of religious properties is 'one of the most difficult issues we face,' said Peg Breen, president of the New York Landmarks Conservancy, a nonprofit organization based in Manhattan,  which has provided grants and loans to about 500 religious properties statewide. 'Cities seldom know what to do with them or how to raise money for them,' she added. 'Churches don't just affect the people who go there. They are the truest sense of landmarks: they mark the land, anchor the community.'
+Right now, the church, which is owned by the city, is in limbo, Mayor Audrey Carey said. Volunteers from the Newburgh Center for the Arts have replaced the roof and tend the grounds. 'We'd like to see it become an arts center, or something compatible with community use,' Mayor Carey said.
+While this church awaits salvation, Target Stores recently bought a six-page insert in Time magazine, proudly hailing its role in helping  restore the Washington Monument. (Target gave $2.5 million.) Some preservationists worry about the possible next step: corporate ads a la the Olympics, and logos flying from national landmarks.
+On this potentially slippery slope, 'it's a question of maintaining a balance,' said Tony Wood, a New York City preservationist and founder of the New York Preservation Archives, a nonprofit group. 'Our goal is to keep what's been here for 100 years standing,' he said. 'If you have to choose between corporate sponsorship and losing history, you'd be a fool not to take the check.'"