WHEN Bernard Goldfine's name first broke into the news, TIME'S Boston Bureau Chief Murray Gart was the first newsman to corral the elusive Massachusetts millionaire, talked to Goldfine for 3 1/2 hours in his Chestnut Hill home, got a memorable interview (TIME, June 23). As the Goldfine story developed, Gart stayed on the trail, found enough leads to call for a task-force effort. Last week, while Correspondent Neil MacNeil covered the day-and-night Goldfine show in Washington, TIME deployed a reporting task force through New England. From New York to Boston went Fiscal Specialist George Bookman. Chicago's Jon Rinehart canvassed Maine, Chicago's Ed Reingold poked into musty Massachusetts court records, Boston's Ken Froslid was in New Hampshire, and Stringer Correspondent Bill Kearns filed from Vermont. For the result of their coverage of Goldfine's fast-shuffling financial affairs, see NATIONAL AFFAIRS, The Goldfine Pressagents Forgot.

WHILE statesmen and strongmen cope with readily visible political crises, the economic tides that lift or swamp them often begin their flow unnoticed. Across the Atlantic, the European boom that refused to bust during the U.S.'s recession months is now threatened by a downturn. Across the Pacific, Red China, out to dominate Asia politically and economically, has declared open economic war on Japan, perfecting an art in which the Japanese themselves once excelled: dumping cheap goods onto Southeast Asian markets. The deep-running courses of these economic tides are analyzed in FOREIGN NEWS: Threat of Recession and Squeeze from Peking.

THIS week TIME presents the first ' cover in its history in which the logotype--the word TIME--has been printed in more than one color. Until late 1952 (Dec. 18), the word TIME was always printed in black. That week, because the background (an inky sky for a space design) was black, the letters were printed in white. Since then the logotype has been printed at times in red, blue or yellow. This week's four-color TIME was conceived by Cover Artist Aaron Bohrod, who made the logotype an integral part of the cover painting, and hung from it some of the symbols that he often uses to give added dimension to his work.* Bohrod's bright, tuneful "Music Man" conveys the spirit of Broadway's biggest hit, which is sending audiences away marching and laughing and singing. See THEATER, Pied Piper of Broadway.

*A technique Bohrod used in a recent self-portrait (see cut), which he painted for Detroit Collector Lawrence A. Fleischman (TIME, Sept. 10, 1956). The miniature of Vermeer's classic painter represents the artist, while the other symbols range through the eye (a glass one borrowed from a doctor), the heart (a piece of an old valentine), the hand (drawn like a 19th century steel engraving) and the mind (depicted by the half walnut, which looks, says Bohrod, like a brain case).

This file is automatically generated by a robot program, so reader's discretion is required.