The year was 1984. In January, Apple introduced its Macintosh personal computer. In October, Bishop Desmond Tutu’s Nobel Peace Prize was announced. In November, “Band-Aid” recorded its first charitable hit. In December, Cynthia Jenner, Alexis Greene, and Thomas Dunn laid the framework for a not-for-profit theatre organization in a letter to the Jerome Foundation. Along with a host of colleagues, they envisioned a dramaturgy and literary management support program, soon to be incorporated, that would include in its mission publishing a quarterly newsletter; providing a computerized information bank (including a dramaturgy bibliography and a list of academic programs and courses to support the field); establishing an intern program; and creating a committee to begin a series of conferences. Prior to that document’s generation and submission, as former LMDA President David Copelin has noted, “dramaturgs in the New York-New Jersey-Connecticut area had been meeting informally once a month, usually for lunch. . . . We often spoke (sighed, actually), about creating a national, formal organization of ‘turgs.”