Chapter 10

"It was started in Britain in 1961 by a lawyer named Peter Benenson," says Hawk, whose name belies the fact that he has been involved in civil rights for nearly half of his 34 years. "It started over a trial that was going on in Portugal." Benenson launched a one-year campaign to call attention to the Portuguese prisoners.

Soon the idea became so popular that a permanent organization was created. Chapters sprang up in other countries, and members began to work toward freeing "prisoners of conscience" on every continent. In the past 17 years, Amnesty International -- or "Amnesty" for short -- has aided in securing the release of nearly 13,000 individuals who were imprisoned not for crimes, but for personal beliefs that went against their governments' official policies.

"We're a nuisance factor," says Hawk. "We organize letter-writing and publicity campaigns on behalf of individual victims of human rights violations. It's the letters and the publicity that are Amnesty's tools for securing their release or bettering their conditions while they're in. At first it sounds strange to think that people sitting in living rooms in the United States can help someone in a fortress prison on an island in Indonesia, or in Siberia. ... You deluge certain people with so many letters that eventually it becomes an issue. Then the government asks, 'Is holding this person worth the trouble?' And on occasion, the answer is no."

The secret of Amnesty's success is its huge number of volunteers -- 170,000 in 78 countries -- who work on the case of a particular prisoner for years if necessary. They send letters and telegrams not only to government officials, but also to the prisoner himself. At times they send packages, or give financial aid to his family, or arrange for legal aid.

A 100-member research team in London makes sure that every new case is thoroughly documented before assigning it to an "adoption group" of 12 to 20 people. This group generally receives the names of three prisoners from three different political systems, and meets once a month to work on the cases until a result is obtained.

The Riverside adoption group, dating back to 1966, was the first one established in the U.S. Today there are more than 100 in 32 states. All of these are monitored by David Hawk and his staff of 20 full-time workers at their Westside office. The $750,000 annual U.S. budget comes from members' contributions, foundations, and church agencies.

Hawk assumed the leadership of A.I.-U.S.A. in 1974. "In the early '60s I worked in the civil rights movement in the Deep South," he recalls. "From 1967 to 1972 I was one of the organizers of the Moratorium Against the War. Then I worked in the McGovern campaign."

At about the same time he graduated from Union Theological Seminary, and from there went to Oxford University in England, where he found out about Amnesty International. Returning to the U.S., he applied for the vacant post of executive director and was accepted. Ever since then he has been a resident of the West Side. David's wife Joan, a potter, is the editor of _Matchbox_.

Hawk's biggest concern these days is to focus attention on the human rights covenants that President Carter has signed and is planning to send to the U.S. Senate for ratification. The covenants are worded almost the same as the United Nations' Universal Declaration of Human Rights, signed in December, 1948. "Put into treaty form," explains Hawk, "the articles will carry more weight. It's very important for governments to agree among themselves that they shouldn't torture their citizens, and should give them fair trials, and should provide food and housing and education for their citizens. Amnesty wants all governments to ratify the treaty."

Anyone interest in volunteering some time to this worthy organization should write to: Amnesty International, 2112 Broadway, Room 309, New York, NY 10023.

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EASTSIDER WALTER HOVING Chairman of Tiffany & Company

12-22-79

When Walter Hoving took over as chairman of Tiffany and Company in 1955, he gave his designers one simple rule: "Design what you think is beautiful and don't worry about selling it." The rule applies as much to store's eye-catching Christmas display windows as to the three floors of jewelry, silver, china, and crystal at the corner of 5th Avenue and 57th Street. Hoving's unique combination of business wizardry and impeccable taste has paid off dramatically: since he joined the company, Tiffany's annual sales haver gone from $7 million to $73 million.

A tall, soft-spoken, former Brown University football star whose unlined forehead and vigorous appearance belie his 82 years, Hoving has a voice like Jimmy Stewart's and kindly yet authoritative manner. On his conservative gray suit is a tiny silver pin with the words "Try God." Leaning back in the comfortable desk chair at his vast, teakwood-paneled office at Tiffany's on a recent afternoon, he answers all questions thoroughly and unhesitatingly.

"We don't think in terms of price at all. Whatever we sell has got to be up to our standard in quality material, quality workmanship, and quality of design. ... You see, you've got to have a point of view in this thing. That's all we've got is a point of view, and we stick to it."

What he calls a "point of view" others would simply define as "taste." And Hoving is well qualified to have strong opinions in this area. At the age of 30, three years after joining R.H. Macy and Company, he was already a vice president and merchandising director. At that point, says Hoving, "I realized that design was going to be a coming thing, and I really didn't know much about it. So I matriculated at New York University in their arts department, and I took courses on period furniture, old silver, historic textiles, color and design. It took me three years, twice a week at night. ... Then, of course, I could learn by going into people's homes that were beautiful, in England and France, at museums -- wherever I was. You learn if you have a basis. And so I advise anybody who comes into this business to get knowledgeable about decorative arts."

After leaving Macy's, he climbed steadily, becoming vice president of Montgomery Ward, president of Lord & Taylor, and president of Bonwit Teller. Upon arriving at Tiffany's, one of the first things he did was to discontinue selling anything that didn't conform to his esthetic standards, regardless of profit.

The current 180-page catalogue lists almost 100 items under $25, along with such unabashed luxuries as a porcelain dessert service for six priced at $4,200 and an unpriced "seashell" necklace of 18-carat gold with diamonds set in platinum. Tiffany's carries no synthetic gems because, according to Hoving, "everything here is real," and no men's diamond rings because "we think they're vulgar." He adds: "I dropped antique silver. I saw no reason why Tiffany should carry it. You can get antiques anyplace. Our job is to make antiques for the future."

Since 1963, Tiffany has opened branch stores in five other cities. Several floors in the Fifth Avenue headquarters house artists, engravers, clockmakers and jewelry craftsmen. There is also a Tiffany factory in New Jersey.

The author of two best-selling books, _Your Career in Business_ and _Tiffany's Table Manners for Teenagers_, Hoving is a deeply religious man who has long been actively involved in charitable work. He is a co founder of the Salvation Army Association of New York, and gives his time to the United Negro College Fund, the United Service Organizations, and, most recently, a home for heroin-addicted girls in Garrison, New York, which has been named in his honor.

When a friend at St. Bartholomew's Church asked Hoving to make her a pin reading "Try God," he got the idea of selling the pin at Tiffany's and giving the proceeds to the Walter Hoving Home. So far, 600,000 have been sold.

Jane Pickens Hoving, his wife since 1977, is the founder and chairman of an organization known as Tune in New York, which matches volunteers to jobs best suited for their talents and interests. It is about to open a headquarters at 730 Fifth Avenue, across from Tiffany's.

His son Thomas Hoving served as commissioner of parks for New York City and for many years was director of the Metropolitan Museum of Art. He recently wrote a book on Tutankhamen and has another book in the works.

An Eastsider for over 50 years, Walter Hoving walks more than three miles a day between his home and office. He frequently mixes with customers in the store, and one of his favorite anecdotes is about the time he spoke with a woman who was registering her daughter for wedding presents. "The woman said that she and her husband wanted everything to come from Tiffany's because they were sure if it was from Tiffany's it would be all right," relates Hoving. "I said, 'What does your husband do?' She said, 'He is a letter carrier.' Well, I felt better than if I had sold Mrs. Astorbilt a million-dollar diamond ring."

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EASTSIDER JAY JACOBS Restaurant critic for _Gourmet_ magazine

2-9-80

It is a familiar scene to New York restaurateurs: an out-of-town visitor arrives clutching a magazine, turns to an article, and orders the items that have been underlined. Whether the magazine is current or several years old, the chances are that it is _Gourmet_ and that the article is a review by Jay Jacobs, _Gourmet's_ New York restaurant critic since 1972.

Its monthly circulation of 600,000 makes _Gourmet_ the most widely read food publication in the English-speaking world. But Jacobs, who is responsible for writing three lengthy reviews per issue, is quick to point out that, in spite of his knowledge of the business and his love of cooking, he would never consider opening a restaurant himself.

"I think everybody born in this century has fantasized about a restaurant, but I think it would be insane," he says in a voice as rich and mellow as vintage port. "One of the great tragedies of the restaurant business is that people who cook well at home often think that's all it takes. ... If you've got any interest in food and the least bit of talent, you can probably cook a better meal for four people than you'll ever get in any restaurant in the world -- if you want to invest that kind of labor and time, and concentration. But there's a huge gap between doing that and serving anywhere from 70 to 130 people at night, all wanting different dishes. It becomes a tremendous problem of strategy and logistics."

Affable, low-keyed, and very small of stature, Jacob displays a wry wit while telling how he began his career as a painter, cartoonist and illustrator before turning to full-time writing in 1956. For years he worked mainly for art publications, and he still writes a bimonthly column for _theArtgallery_ magazine. His first book, a quickie titled _RFK: His Life and Death_, came out in 1968. He is also the author of _A History of Gastronomy_, _New York a la Carte_, and _Winning the Restaurant Game_ (McGraw-Hill, 1980).

_Winning the Restaurant Game_ is an extremely humorous and entertaining volume that is notable for its exotic vocabulary. However, the book's message is not to be taken lightly -- that restaurant dining is a complex game in which the best players can expect better service, better food, and the lasting affection of the owner. All the conventions of dining out, including who to tip and how much, are discussed in depth. Among the subchapters are "Humbling the Opposition," "The Uselessness of Menus," "Addressing Flunkies," and "Securing Advantageous Tables."

His next book, _Winning the Kitchen Game_, is due from McGraw-Hill next winter.

Jacobs dines out at least once a day while in the city. He visits restaurants several times before doing a review -- always anonymously, and generally accompanied by others. "My job," he says, "is to find worthwhile places that our readers will want to go to. The magazine's policy is not to do unfavorable reviews. If I think a place stinks, I don't go back and I don't review it. ... Most of our readers are knowledgeable about food, somewhat self-indulgent, affluent, and well-travelled. When they come into New York, they don't want to find some cut-rate taco house, and they don't want to know about the bad places. They're only in for a few days, and they want to hit the high spots.

"The daily press have a different readership and a different function. ... When they do a favorable review, it can damage a restaurant in that it generates a sudden spurt of interest that the restaurant can't handle."

The father of four boys, Jacobs is a very sociable person who enjoys throwing parties for 50 to 60. To prepare the food, he says, "I lock myself in the kitchen for three or four days."

His _Gourmet_ reviews are so detailed that Jacobs gets letters from readers across the country who tell how they have recreated a night at the Four Seasons or 21 "by analyzing what I have written, and approximating the dishes." But what makes his job particularly gratifying is the restaurant people themselves.

"I'm very impressed by these restaurant guys. If you travel in Europe you see them when they're 13 years old, schlepping suitcases in some motel and dreaming of the day when they open their own restaurant. They usually come out of small towns or even villages, and don't have the benefit of birth or upbringing or schooling. And the next thing you know, it's 30 years later and they can converse very adequately with Henry Kissinger or Jackie Onassis or anyone else, and maintain a business and make it work."

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WESTSIDER RAUL JULIA Star of _Dracula_ on Broadway

5-26-79

"It's nice to be a vampire eight times a week," says Raul Julia, the star of _Dracula_ at the Martin Beck Theatre. Last October he took over the role made famous by Frank Langella, and now Julia -- pronounced "Hoo lia" by his Puerto Rican countrymen -- has developed a cult following of his own, in this classic remake of the 1927 Broadway hit.

Some critics have said that the sets and costumes by Edward Gorey are the centerpieces of the show, more so than any of the performers. But Raul Julia is rapidly becoming a local matinee idol, drawing fan mail by the bagful and constantly meeting crowds of autograph seekers outside the stage door.

In his portrayal of Count Dracula, Raul takes on many characteristics of a bat. He hangs over the mantlepiece at strange angles and whips his dark cloak through the air like a bat's wings. When entrapped by three desperate men holding protective crosses and religious relics in front of them, he changes into a bat and flies out the window at the stroke of dawn.

In the dressing room prior to a performance, without his makeup, he looks neither sinister nor magnetically attractive, but seems almost boyish. His wit is matched by his humility: Raul is aware that his name is not yet a household word. Not many people realize, for example, that his natural speaking voice has the same lilting Puerto Rican accent heard everywhere in the streets and subways of New York. When asked how he accounts for his flawless onstage pronunciation, Raul shrugs and says with a grin, "Well, that's acting."

Like Richard Chamberlain, who in 1970 played Hamlet with great success on the British stage, Julia is equally at home in British and American plays. He has starred in many of Joseph Papp's New York Shakespeare Festival productions, and has received three Tony nominations for his dramatic and musical roles on Broadway.

He sips a glass of apricot juice while a makeup artist brushes his jet black hair straight back and starts to darken his eyes. Removing his shoes, Raul tells all sorts of little anecdotes about his life as the famous Count.

"I usually eat very little during the day. I go to sleep at about five, sometimes six. Maybe I'm getting a Dracula schedule," he says with a laugh. "Some people who see the show write and say they're going to keep their windows open at night.

"Dracula is a myth, although some people think there actually are vampires. Bram Stoker really created the character of Dracula, taking legends from different parts of the world, like the stories of sailors who had been stricken by bats, appearing on deck the next morning, all pale, without blood in them.

"I hear that Bela Lugosi was buried in a Dracula costume. I also hear that Boris Karloff came to the funeral home to visit him and looked down at the coffin and said, 'You're not kidding are you sweetie?'"

Dracula the character is more than 500 years old; Julia the actor declines to give his age. "Actors should be ageless," he says. "You see, what age does, it limits you to a certain category." He doesn't mind telling his height, however. "Eight foot four," he quips. "No, six two."

He was, in fact, born 30-odd years ago in San Juan. In 1964, after graduating from the university there, he was performing in a local nightclub revue, and comedian Orson Bean happened to be in the audience. Bean urged him to come to New York, and introduced him to Wynn Handman of the American Place Theatre. Although he had not studied acting formally, Raul's natural ability and his versatility soon began to pay off. Within two years he was playing lead roles for Joseph Papp.

Married for the past three years to dancer/actress Merel Poloway, Raul devotes a great deal of his spare time to a charitable organization called the Hunger Project. "The purpose of the group is to support anything that will help bring an end to hunger by 1997. Our goal is to transform the atmosphere that exists now,. That says that hunger is inevitable. All the experts and scientists agree that we have the means right now to end the starvation on the planet."

A resident of the Upper West Side for the past 10 years, Raul has two major projects coming up -- the title role of Othello for Shakespeare-in the-Park this summer and a movie called _Isabel_, which he will film in Puerto Rico this spring: "I wanted to be in it because it's a totally Puerto Rican venture, and I want to encourage the beginning of a quality movie industry."

Raul appears to be utterly at ease as he prepares to make his stage entrance in the middle of the first act of _Dracula_. I have time for one more question: "Is the acting life everything you hoped it would be?"

Raul wraps the cloak around himself and heads out of the dressing room. He looks back at me and smiles. "Yes," he replies. "_Now_ it is."

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EASTSIDER BOB KANE Creator of Batman and Robin

3-24-79

At the 1939 World's Fair in New York, a time capsule was filled with memorabilia thought to be representative of 20th-century American culture, and scheduled to be opened by historians 5,000 years later. Among the objects chosen was a comic magazine that had appeared for the first time that year, the creation of an 18-year-old artist and writer named Bob Kane. Whoever chose the contents of the time capsule must have been prophetic, because today, 40 years later, few characters in American fantasy or fiction are so well known as Kane's pulp hero -- Batman.

"It was a big success from the very beginning," says the cartoonist, a tall, wiry, powerful-looking man of 58 whose tanned, leathery features bear a striking resemblance to those of Bruce Wayne, Batman's secret identity. "Superman started in 1938, and the same company, D.C. Comics, was looking for another superhero. I happened to be in the right place at the right time.

"The first year, Batman was more evil, more sinister. My concept was for him to scare the hell out of the denizens of the underworld. And then the second year, I introduced Robin, because I realized he would appeal to the children's audience. That's when the strip really took hold."

The walls of his Eastside apartment are covered with vintage hand-drawn panels by America's most famous cartoonists, and Kane, with his casual attire, his broad New York accent, and his habit of twirling his glasses around while slumped far down in his easy chair, would not seem out of place as a character in Maggie and Jiggs. Yet he likes to consider himself a serious artist, and has, in fact, had some notable achievements in his "second career," which began in 1966 when he resigned from D.C. Comics, on the heels of the successful _Batman_ TV series.

"I got tired of working over the drawing board after 30 years. I wanted to be an entrepreneur -- painter, screenplay writer, and producer." Since that time, he has built up a large body of work -- oil paintings, watercolors, pen and ink sketches and lithographs, most of them depicting characters from Batman. They have been purchased by leading universities, famous private collectors, and New York's Museum of Modern Art.

As a writer, Kane has created four animated cartoon series for television, has penned a screenplay for Paramount Pictures, _The Silent Gun_, has written an autobiography titled _Batman and Me_ (due to be published next year), and has completed a screenplay for a full-length Batman movie. Recently, he has also emerged as an active participant in charitable causes, such as UNICEF, Cerebral Palsy and the American Cancer Society.

>From March 16 to April 8, the Circle Gallery at 435 West Broadway in SoHo will exhibit a one-man show of about 40 Kane originals. Says Kane with his typical immodesty: "I'm probably the first cartoonist to make the transition to fine art. When you do hand-signed, limited editions of lithographs, you are definitely entering the world of Lautrec and Picasso and Chagall."

Kane has lived on the East Side for the past 15 years and has no plans to leave. Asked about his early years, he tells of growing up poor in the Bronx. "I used to draw on all the sidewalks, and black out the teeth of the girls on the subway posters. I used to copy all the comics as a kid, too. That was my school of learning. ... My greatest influence in creating Batman was a sketch by Leonardo da Vinci of a flying machine, which I saw when I was 13 years old. It showed a man on a sled with huge bat wings attached to it. To me, it looked like a bat man. And that same year, I saw a movie called _The Mark of Zorro_, with Douglas Fairbanks Senior. Zorro fought for the downtrodden and he had a cave in the mountainside, and wore a mask, which gave me the idea for Batman's dual identity and the Batmobile."

As might be expected, Kane takes much pride in his lifelong success. "Batman has influenced four decades of children," he declares. "It has influenced the language. ... It has influenced people's lives whereby it gives them a sense of hope that the good guy usually wins in the end. And mainly, the influence has been one of sheer entertainment. I feel that most people would like to be a Batman-type superhero, to take them out of their dull, mundane routine of everyday living. ... My greatest thrill comes from my 5-year-old grandson. Little did I know when I was 18 that one day I would see my grandson wearing a little Batman costume, driving around in a miniature Batmobile and yelling 'Batman!'"

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WESTSIDER LENORE KASDORF Star of _The Guiding Light_

1-20-79

For the pat few months at least, the hottest soap opera on television has been CBS' _The Guiding Light_, which reaches approximately 10 million viewers nationwide. The show has 22 regular characters, and right now the one who is getting the most attention is Rita Stapleton, a beautiful but deceitful nurse who recently brought up the ratings for the week when she was raped by her ex-lover on the night before her engagement to another man. It was all in a day's work for Westsider Lenore Kasdorf, who portrays the popular villainess.