What was happening in the 60s, in the counterculture was worldwide, and it was a global expansion of consciousness that was going on, like an epidemic. ((1960s, Cussing The Establishment, Eclectic Kind Of Place, Emotional Wisdom, Made Of Geniuses, Texan Subculture, Umbra Workshop)) And so — and I realized when musicians would subscribe to The Realist, and sometimes write for them, like Phil Ochs, a folk singer or Country Joe McDonald, even The Beatles had a subscription to it. And so, it was — and oh, it was what the readership had in common was they came from all walks of life and all kinds of jobs and businesses and professions, but what they all had was a desire for seeing the truth rather than propaganda, and also having a satire that they couldn’t get — there was no magazine of satire for adults then. There was only MAD, which was essentially for teenagers. And it was one of the reasons I started The Realist, was because I wanted for myself to see satire of things that the standup comedians then did not touch, because they were too controversial, like nuclear testing and racism and sexism and ageism and abortion laws. ((Propaganda Industry)) Just instinctively I thought who’s the government to say what a woman should do with her own body?