The Los Angeles Times from Los Angeles, California • 39

I Vi Cos Anodes lmes PART IV MONDAY, SEPTEMBER 1, 1975 Illicit iililHii EW JACK SMITH -v- 7 vy t- LsL rSPvi ill Lll, --A III iiiiiiiiiiiwi wumJ4t 4hiaitfr? Bimni 111111111 mtmum iMiiMJBiiiiHffIiiiiiiiiiwwiiiiSl jta HX((m "if'miStSSIm FREE ADVICE-Volunteers take calls at the Los Angeles Sex Information Helpline Center. They refer all callers to proper agencies for assistance. Times photo by Larry Bessell A Helpline for Human Sexuality This Is a Fine How-Do-You-Do Some months ago I reported here on a study into the nature of goodbys. What do you say when you say good-by? That may sound like Cole Porter, but in essence it was the subject of the study by a group of speech communication professors and assistants at Purdue University. Now one of the authors of that study, Mark L.

Knapp, has teamed up with a colleague, Paul D. Krivonos, in a study of the nature of hellos, and published their findings (Central State Speech Journal, summer 1975) under the title, "Initiating Communication: What Do You Say When You Say Hello?" A copy has been sent to me by Robert D. Kully, professor of speech communications at Cal State Los Angeles, who also sent me the earlier paper on goodbys. "I am not going to try to guess," he wrote, "why the scholars at Purdue decided to study the rhetoric of goodby before they studied the rhetoric of hello and I leave it to you to wonder why Mr. Knapp decided to study hello rather than the problem you posed regarding women saying goodnight at the door." (Serious students of communications may remember that I raised the question of why two women find it impossible to say goodby and end a conversation in a doorway after a social evening, and must be physically separated by their husbands, one being dragged out to a car, the other off to bed.) In their earlier study the Purdue group noted that when two people say goodby they are marking the transition from a period of increased access to a period of decreased access.

Conversely, the new report observes, when people say hello they are marking the transition from decreased access to increased access. Most of the callers range in age from early 20s to middle 40s, but there are a few in their 60s who ask how age is affecting their sexuality. "So many people are afraid to talk about their sex problems because, in our society, we've been trained not to," says Ms. Maple. "We don't even have proper sex education in our schools." David Hall, director of Family Life and Sex Project (L.A.

County Maternal and Child Health Program) who is on the board of directors of Helpline, concurs, as does the State Department of Education, which concluded in a recent survey that sex education is the most needed program in public schools. Some parents disagree. Various vocal groups in Orange County, San Joaquin Valley, San Luis Obispo and San Mateo have campaigned against sex education in public schools, contending that such courses are not healthy and are immoral and pornographic. These groups protested before school boards, instituted legal action and pressured legislators. Former Sen.

John G. Schmitz (R-Tustin) au-Please Turn to Page 4, Col. I BY DIANA NEWELL "I'm having difficulty relating to women. I just don't know what to talk about," complains a newly divorced man thrust into the world of singles after a 20-year marriage. "I feel funny asking my mother about sex, but I want to know what's happening to my body," whispers a teen-age girl, too frightened to speak out loud.

"I think I'm impotent," admits a 30-year-old bachelor. A worried young girl who thinks she might be pregnant is asking for help. "We had sex last night and I wasn't prepared. What should I do?" These are some of the callers. They are calling "Helpline," the Los Angeles Sex Information Helpline, a unique telephone service that provides accurate, non-judgmental and confidential information relating to all aspects of human sexuality.

"There's a desperate need for a service of this type," says Chelley Maple, administrator of Helpline. "There aren't too many places people can go to get help and answers about their sexuality and sensuality and still "t's a lot more difficult for someone to discuss sex face-to-face than on the phone where he or she can retain confidentiality without fear of repercussion." Chelley Maple maintain their anonymity. It's a lot more difficult for someone to discuss sex face to face than on the phone where he or she can retain confidentiality without fear of repercussion." "Eighty percent of the calls are from men," says Ms. Maple. "I think that's because women are slightly more in touch with their own sensuality and sexuality.

Consciousness-raising has contributed greatly to women's sexual awareness. Questions from men seem to center on relationships or feelings about their own sexuality, while questions from women are of a more informational nature. For the most part, a caller doesn't ask for a particular sex to talk to, but if he does the request is honored." ARCHITECTURE Patina: Age's Beauty Lost? f' i Kf. r. If ij As a layman, I am glad to find that many things I already knew are confirmed by the study.

For example, we are told that "when one person asks another how he is feeling, he does not expect to be taken literally." Thus, when two people meet and one says, "How are the other is not required to describe his aches and pains, his emotional and economic temperature, or the results of his or her latest EKG, rabbit test or Wassermann. Basic to any academic study is a glossary of terms by which each professor will know what each other professor is talking about. Thus, what they call Verbal Greeting Behavior is broken down into various Concept Categories. For example, the Verbal Salute "Good morning" the Reference to Other man!" "Hi, and the Personal Inquiry are you?" it A more complex greeting might also contain a Maintenance phrase time no a Compliment a nice tie you're an External Reference the a Reference to Self I had a rough an Accentuator "Well!" and, if a person is up to it, a Witticism. A Witticism is defined as "a humorous word or phrase or out-of-the-ordinary comment" your sex life?" "How's your crabgrass?" "Que Finally there may be a Topic Initiation "moving the conversation to a topic of concern" reason I wanted to talk to you From their experiments and from the existing literature, Knapp and his colleagues observe that "eye behavior" is critical in greetings.

When two people who are slightly acquainted approach each other they may start with an Eyebrow Flash, which is "a distinct up and down motion of the eyebrows, usually including widening of the eyes." If one or the other wishes to go further, he will maintain eye contact, close the distance and essay a Verbal Salute, perhaps with a Reference to Other and a Personal Inquiry. I am trying to imagine myself running into Ms. Viable some morning in the fourth-floor corridor. We are only slightly acquainted. How far may I go? As the professors point out, there is a risk in greetings.

One person may be ignored by the Other, to his embarrassment or humiliation. First, I give Ms. Viable an eyebrow flash, with widening of the Shall I risk a Verbal Salute? A Reference to Other? From here on, step by step, I must make the critical decisions, in split seconds; whether to go on to Personal Inquiry, to Maintenance, Compliment, External Reference, Reference to Self, Accentuator, and if I can think of one fast enough, a Witticism. Finally, a Topic Initiation, if I get that far. I decide to go all the way with Ms.

Viable. Eyebrow flash. "Hi, babe. Long time no see. That's a nice necktie you're wearing.

How's the weather? Have I had a rough day! Well! Say! How's your sex life? What I really wanted to talk to you about I don't know how Ms. Viable would respond to a greeting like that, with all the stops out, but I have an idea she'd say something like "How's your crabgrass," if anything, and trot off without so much as an Eyebrow Flash. ORIGINAL CAST Milburn Stone, Amanda Blake, James Arness, and Dennis Weaver, from the left, started the whole Gunsmoke thing on TV in 1955, spawning a host of imitators. GUNSMOKE FINALE Legend Goes Down the Tubes BY CECIL SMITH Times Television Critic The last column I wrote before an extended absence from these pages was a kind of obituary last July 2, some notes on the passing of an old friend: Rod Serling. I suppose it is only proper that I would return, though not quite so regularly for awhile, with another kind of obit.

Tonight marks the end of 20 years of Gunsmoke. Next Monday the Gunsmoke hour on CBS (Channel 2, 8-9 p.m.) will be occupied by two comedies spun off the Mary Tyler Moore Show: Rhoda and Phyllis. Television programs don't go out with a bang or even a whimper. They don't even fade away. They move to non-network stations or to daytime hours and are rerun eternally.

I have the feeling that the first moon colony we establish will be watching I Love Lucy. And, probably, Gunsmoke. Lucy started four years before Gunsmoke and, give or take occasional changes in format, was on CBS for 22 seasons. Ed Sullivan, beginning in 1948, had a 25-year run. Lucy was the comedic genius of Lucille Ball; Sullivan was the eternal amateur emcee I always thought of him as the program chairman of the annual smoker of the Moline, III, Kiwanis.

Gunsmoke was something quite different. It was the dramatization of the American epic legend of the West, our own "Iliad" and "Odyssey," created of the standard elements of the dime novel and the pulp western as romanticized by Please Turn to Page 1.1, Col. 1 BY JOHN PASTIER Times Architecture Critic Normally, I deal with household tasks as things to be avoided, or if that's not possible, things to be postponed. A few chores, however, seem to offset the dullness and ultimate futility of the rest. Washing dishes does nothing for the soul, but washing denim does.

Vacuuming the carpet is tediousness incarnate, but saddle soaping boots and belts is an act of quiet excitement. Oiling and rubbing wooden furniture, or even cabinets and tabletops of such humble substances as particle board and masonite feels like a positive accomplishment and not just a holding action in the face of slowly advancing chaos. Each of these activities involves a dimension of metamorphosis, and maintenance becomes equivalent to transformation. With each washing, blue jeans become a bit softer in texture and shade; with each soaping or oiling the grain and color of leather and wood becomes deeper and more individualistic. In these cases, things get better with age rather than merely wearing out.

Inconvenient, After All There's an old-fashioned word for this patina. We don't hear it much lately because our industrial society has little use for it. Polyester fabrics, wood-grained plastic laminates and leather-look expanded vinyl are easier to maintain and probably more controllable during manufacture than the real thing. Patina is inconvenient. This also holds for cities and buildings.

For a variety of reasons, our tendency has been to make them patina-proof. The recently built environment can often look impressive in any of several ways, but rarely will it look capable of mellowing with age. Most contemporary buildings and urban districts seem likely to stay looking new all their useful life, or merely to deteriorate with the passage of time. Few have the potential of breaking in and growing with the passage of time. In its narrowest definition, patina is a layer of oxidation on copper or bronze.

These were once fairly common, although expensive, building materials used mainly on roofs, cornices, domes, spires and doors and windows. Today, however, they seem to have become precious metals and their rich, subtle and incredibly varied shades of green, blue-green and brown are uncommon sights in the contemporary urban landscape. Not quite a generation ago a bronze skyscraper, New York's Seagram Building, had a profound effect on commercial architecture. This superbly designed structure made "bronze" a very desirable color, and since few builders could afford the real thing, the aluminum industry obliged with an entire line of "bronze" anodized building components. In the intervening years, the quality of this fake bronze has improved, but the patina factor, if any, is negative since aluminum corrosion works against the bronzelike color.

Cheapest Skin Available After bronzetone aluminum there came bronzetone glass, first just for windows but now used to sheathe buildings from top to bottom. At the moment, bronze-color glass seems to be the cheapest building skin available, so we have more of the brown than ever before, but none of the patina. The rise of glass architecture has been a strong blow to urban patina. For all of its virtues as a building material, glass has one outstanding double-edged quality its stability. Short of breakage, scratching or sandstorms, its appearance won't change even slightly with time.

Keep it washed and it will be as slick and shiny as the day it was installed, even hundreds of years later. What a wonderful quality, but what a disappointing one as well. There is an exception to this stability, however. If it contains certain impurities (manganese compounds, if memory is correct) glass will turn purple from the sun's ultraviolet rays. If such a glass were to be manufactured commercially, imagine the possibilities for residential win-Please Turn to Page 9, Col.

1 THE VIEWS INSIDE if ART: "Hand Colored Photographs" at the Ohio Silver Gallery by William Wilson on Page 2. BOOKS: William and Joanna Woolfolk's "The Great American Birth Rite" by Robert Kirsch on Page 6. MUSIC: Barbara Cook, John Green and Ken Remo at the Hollywood Bowl by Lewis Segal on Page 7. The Persuasions at the Roxy by Dennis Hunt on Page 8. Rod Stewart at the Anaheim Convention Center by Richard Cromelin on Page 8.

Brownsville Station at the Starwood by Richard Cromelin on Page 12. AND OTHER FEATURES Dear. Abby Page 5 Fashion Calendar Page 2 Dr. Andelman Page 4 Fashions for Him. 4 Bridge Page 5 Joyce Haber Page 7 Comics Page 15 On View Page 3 Television Pages 13, 14 SHOWING ITS AGE-James Arness and Milburn Stone, center, are old hands in Gunsmoke, but Buck Taylor, left, end Ken Curtis, right, are relative newcomers.

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