On December 5th, 1965, The New York Times Magazine at last chose to notice Off-Off Broadway. The only individuals whose photos it printed were JOE CINO, SAM SHEPARD, and me. Sam and I were no way the movement’s most prominent playwrights. PAUL FOSTER and LANFORD WILSON were, hands down. I suspect that it was because Sam and I photographed as dissolute and decadent (probably corresponding to some Times editor’s idea of what playwrights must look like who worked for free), that the journal chose to depict us. After all, the article was called “The Pass-the-Hat Theater Circuit.” Much jealousy was roused by our two silly pictures in a milieu that had until then seemed disinterested in approval or acclaim from the boring uptown world.