TRIVIAL TOPICS Tale of a Twist Pretzels -- crispy, crunchy, crackly little morsels of salty goodness. Tortured, twisted, tangy strips of golden glazed bread dough. Where did they originate? Why their strange shape? The word, pretzel, comes from the Latin word, "pretiola," which means little rewards, little gifts, or little prayers. Pretzels had their humble beginning in a monastery kitchen in southern Europe some time between the fifth and seventh centuries, when a monk in charge of baking unleavened Lenten bread wanted to find a way to use the leftover strips of dough. Surely they can be used for something, he thought, crossing two thin strips of dough on the floured bread board before him. He twisted and shaped the strips until they looked like arms crossed in prayer. The custom of prayer at the time called for a person's arms to be crossed on his chest with his hands resting on his shoulders. The monk's "praying arms" were an instant success, not only among the monks, but among the children of the area, to whom they were given as rewards for learning their prayers. Pretzels retained their religious significance as their popularity spread throughout Europe. They were a common alms offering during Lent, and the three holes were said to represent the Blessed Trinity: Father, Son, and Holy Ghost. They even found their way into the coffins of the dead, in place of jewels and valuables laid to rest with their owners. During the early 1500s, the city of Vienna, now in Austria, was under siege by the Ottoman Turks. Thwarted in their efforts to penetrate the walled city, the Turks started tunneling beneath its walls under cover of night. The bakers, who also worked at night, began hearing strange noises in their cellars, and uncovered the Turkish plot. When the authorities had been alerted, the two groups fought a fierce battle in the tunnels. A grateful emperor awarded the pretzel bakers of Vienna an honorary coat of arms, thus elevating the lowly pretzel to the status of royalty. In addition, a 17th century woodcut, copied from the stained glass window of a cathedral in Bern, Switzerland, depicts a pretzel as the marriage knot in a wedding ceremony between two people of royalty and their families. Wishing on a pretzel, like wishing on a chicken bone, became a common marriage custom. Once the pretzel was broken and the lucky winner had made a wish, the couple ate it. Early settlers brought their pretzel recipes to America, where they soon found favor with the Indians. In 1652, a court case was brought against a pretzel baker and his wife in Beverwyck, New York. The town's citizenry charged that the baker was using his finest flour to make sugar buns, cookies, and pretzels for the Indians, while using inferior ingredients in their own baked goods. Until the mid-19th century, pretzels were soft, round, thick creations made from bread dough. The Pennsylvania Dutch are credited with the invention -- quite by accident -- of the hard pretzel. There are several legends about the origin of the hard pretzel. One legend states that a baker's apprentice in central Pennsylvania was left to oversee an oven full of soft pretzels. The apprentice is reported to have dozed off and, when he awakened, the fire in the oven had died down. Not knowing whether the pretzels were thoroughly baked, the novice pretzel baker fired up the oven again. His master was enraged, yet fascinated by the shrunken, shriveled remains of his once plump pretzels. He bit into one, and thereby discovered a new version of an old favorite. A second legend credits a beggar, passing through the town of Lititz, Pennsylvania, with giving a recipe for hard pretzels to a baker in return for a handout of food. The baker is said to have filed the recipe away and forgotten it. It was rediscovered by his apprentice, Julius Sturgis, who is said to have opened America's first commercial pretzel bakery in Lititz in 1861. The Sturgis Pretzel House is still open for business. It costs $1 to visit. The ticket to get in is a pretzel. Visitors to the plant (50,000 come through each year) learn how to twist a pretzel the oldfashioned way. Says Clyde Tshudy, 51, owner of the pretzel company: "We're still using the gas-fired, 215-year-old brick and clay ovens to bake soft pretzels." The Sturgis Pretzel House makes a variety of pretzels, salted and unsalted (called "baldys"), pretzels shaped like Amish horse and buggies, tiny pretzels the size of a quarter, giant-size pretzels, cheese pretzels, oat bran and whole wheat pretzels, left-handed pretzels and many others. "People have been going nuts lately for oat bran pretzels. We can't make enough of them. Oat bran pretzels are a health-kick fad," Tshudy said. Tshudy's son, Michael, was the last president of National Pretzel Bakers, which merged with Snack Food Association two years ago. All the records of the National Pretzel Bakers are preserved in the Sturgis Pretzel House. Reading, Pennsylvania, however, claims to be the pretzel capital of the world. One of its plants is capable of packaging ten million pretzels a day. In 1960, pretzel sales in this country totaled $92 million. And pretzel manufacturing is a business still on the rise. In 1982 (according to the latest government figures, published in 1985), pretzel companies baked 186.2 million pounds of those crazy, crunchy contortions. This translates into $156.5 million annually, leading one to believe that, while man does not live by bread alone, pretzels are certainly a favorite mainstay. Reading may claim to be the pretzel capital, but Joe Nacchio, president of Federal Baking Company of Philadelphia, claims to have baked the largest pretzel ever. It weighed 40 pounds and measured five feet across. He also baked a four-foot, 20-pound pretzel for the 1962 movie, "It's a Mad, mad, Mad, Mad World." It took two strong men to twist it into shape. A rose by any other name is still a rose, and so too with pretzels. Sometimes called a "crazy cruller," "crooked crumpet," or "buckle biscuit," a pretzel is still a pretzel. And from the monastery to the movies, pretzels have come a long way. The Tailor-Made Cigarette Which would you rather wear: a tailor-made suit sewn by hand exactly to your needs or a suit mass-produced by machines and bought right off the rack? Without too much exaggeration, that is the difference between a completely handmade cigarette and one cranked out by machinery. And in today's world, where the cost-efficient shortcut is worshipped in so many places, you have to be extremely careful: Many cigarettes are called "handmade" because one of the two major procedures involved is done by hand; while the other, equally important, process is done by machine. To find out more about handmade cigarettes, we checked with the Luis Martinez Cigarette Company. In 1989, they still are making their cigarettes the same way Don Luis Martinez made his back in the late 1880s, when he first went into business in his native Havana. Luis Martinez Dominican Handmades are a blend of four separate tobaccos that are aged for at least three years to cure them of the raw leaf's harshness and bitter aftertaste. As with find wines, aging the tobacco makes it rich, sweet and mild tasting. When the aging process is complete, the tobacco is ready to be rolled. The cigarette maker takes the four separate filler tobaccos, weighs them in his hands and carefully rolls them (not too tightly or the draw will be hampered and the smoker will not taste all four tobaccos evenly; not too loosely or the cigarette will burn too quickly and be too hot). Some manufacturers that call their cigarettes handmade actually use machines for this process, which is known as "bunching." The carefully bunched filler is then wrapped in a specially chosen tobacco leaf by another craftsman. After each finished cigarette is inspected, the cigarettes are placed in humidity-controlled rooms lined with Spanish cedar. The cigarettes rest there for up to six weeks, until the moisture is even throughout each cigarette, enhancing the marriage of the tobaccos. The Luis Martinez Cigarette Company offers a sampler of assorted shapes and sizes. A Dominican Handmade Trial Sampler of 10 cigarettes with a choice of light natural (brown) or Maduro (dark) tobacco leaf wrappers ($15.45 including delivery) is available by writing Luis Martinez Cigarette Company, Dept. HD, P. O. Box 76061, Tampa, FL 33675 or calling 1-80082-CIGARETTE. Florida residents should call 1-800-23- CIGARETTE. Dream Spinners The American jukebox is 100 years old. In 1877, while he was trying to invent the telegraph machine, Thomas Edison wrapped a sheet of perforated tinfoil around a cylinder and shouted into a horn. To his amazement, his words could be played back to him. Sound recording was discovered. But because he envisioned his new invention as a dictating machine, Edison's "speaking phonograph" languished for over a decade. It was Louis Glass who added a coin slot and four listening tubes, and replaced the tinfoil with wax cylinders. On November 23, 1889, Glass installed his new Nickel-In-The-Slot machine in his Palais Royale Saloon in San Francisco, and the jukebox made its debut. Soon, a new industry was born, as "listening parlors" with as many as ten coin-operated machines sprang up around the country. The name, "jukebox," developed from the term "juke," a word used by early 20th century blacks to describe dancing. Dan halls were "juke joints," and the new machines that provided music for money came to be known as "jukeboxes." "The jukebox companies as we know them today didn't start up until the late 1920s with the invention of electrical amplification and of the 78 RPM record," says Eddie Adlum, publisher of RePlay magazine. And it took another decade before the brightly colored machines began to emerge, thereby ushering in the golden age of jukeboxes. "In the 1930s and 1940s, the jukebox was the number one medium that exposed recording artists to the public," says Adlum. "The big performers -- Frankie Laine, Johnny Ray, Glenn Miller -would attend conventions and pose with them. It was a wonderful time." It was also the time when the Wurlitzer Company began using the new colored plastics, curving them into art deco designs, culminating in designer Paul Fuller's masterpiece, the 1015 model. Fuller used revolving discs of Polaroid film to create the changing bands of colors, making them flow inward to draw people to the machine. Fuller also insisted that the actual phonograph mechanism be visible -- creating a "stage," so that people could watch their records being played. "It's a magic machine," says John Durfee of the Orange Training Company of Massachusetts, who restores and sells jukeboxes to collectors. Wurlitzer produced 56,000 of the 1015s from 1945 to 1946, flooding the country with their multicolored, bubble-lighted brilliance. Today, the jukebox that sold for $700 when it was new, and as little as $65 in the 1960s, can fetch upward of $12,000 restored. Alan Luchnick, whose New York City shop, Back Pages Antiques, specializes in Wurlitzers, can no longer keep them in stock. "Everyone who wants a jukebox wants a 1015. I sold one years ago to Yoko Ono as a Christmas present for John Lennon. I have also sold 1015s to Stephen King, to Diana Ross, and to madonna." Luchnick ships many of his jukeboxes to Europe and Japan, where collectors pay handsome prices for them. World War II forced jukebox production to a halt and, by the time the companies reemerged, the mighty Wurlitzer was overtaken by the J. P. Seeburg Company, whose model 100A Select-OMatic played 100 songs. Rowe-AMI and Rock-Ola, the two other major jukebox manufacturers that vied with Wurlitzer in the 1940s, competed with Seeburg's new technology. Soon 120- and 200-selection machines appeared, equipped for the new 45s with stereophonic and quadrophonic sound. Designs changed as well. Paul Fuller's mellow, domed Wurlitzers were replaced by shiny chrome-and-glass boxes whose hard edges reflected a more abrasive time. But malt shops and diners with jukeboxes were soon replaced by the unsociable atmosphere of fast-food restaurants with Muzak or no music at all. And by the Seventies, jukeboxes were bowing to a tiny computer creature named Pac-Man, whose voracious appetite ate up all the quarters that had once fed the music machines. "For ten years, the music industry took a back seat as video games rode a wave of popularity," says Joe Pankus of Seeburg. "But since 1982, the swing has been back to music again." There are now about 225,000 jukeboxes operating in bars, diners, hotels, and lounges throughout the country, according to the Amusement & Music Operators Association (a Chicago-based trade group) -- a big descent from the 700,000 in use during the halcyon days of the 1950s. "I think it's going to get stronger," says Joel Friedman of Rowe-AMI International. "We're putting as much into the box itself as we are into the new technology inside of it." This new technology enables jukebox companies to program 100 CD albums with up to 1,500 titles. Seeburg's LaserMusic CD jukebox holds over 1,000 selections, while Rowe's LaserStar displays 100 CD album covers in a large book format, a far cry from the days when one chose a 78 RPM record from a "menu" of just 12 printed cards. The jukebox industry with its roots so deeply implanted in American culture, still draws on its past to help nurture its future. More Chocolate, My Sweet? Q. Why do men give women chocolates on Valentine's Day? No, it isn't "sweets for the sweet." It's more like slipping a little something in her drink to get things going. In "Consuming Passions: The Anthropology of Eating," Peter Farb and George Armelagos point out that the Aztecs considered chocolate to be such a powerful aphrodisiac that its consumption by women was outlawed (or, just a guess here, reserved for the wives and mistresses of high Aztec officials). When the Spaniards leveled Aztec civilization, they brought back gold for their treasuries and chocolate for their women. They had the right idea. It turns out chocolate has phenylalanines, the same substance released in the body during sexual pleasure. Alas, the dosage in chocolate is tiny, too small to have any real effect, except, of course, on the waistline. Q. Why does love have to be so hard? The irony of life is that the thing we crave the most also causes us the most pain. Love and pain are inextricably wed. Why does love make us worry, fret, argue, despair? Here are the principal reasons: 1. Love is an addiction. According to Robert j. Sternberg, a psychologist at Yale University, people in love display the characteristics of drug addicts: "At times, when you're not getting your fix, you experience a feeling of withdrawal." He means this in the medical sense. Like a junkie going cold turkey, you can become profoundly unhappy, irritable, depressed, anxious. 2. We fight in order to make up. A smooth, easy relationship may fail to produce the emotional intensity we associate with "being in love." Lovers want love to sweep them off their feet, to be a revolutionary force. But you can't have a revolution without the occasional pitched battle. 3. Childhood fears. Our love partner has replaced our parents as the object of our dependence. When there is any problem, long-forgotten emotions kick in, like the panic every child feels when he or she is temporarily lost and feeling abandoned. Growing up doesn't end our vulnerability. But as the official arbiters of truth, we say that the most compelling reason that love goes handin-hand with pain is: This is an impermanent life. Everything dies eventually. In our moments of supreme happiness, there is the inner dread that it cannot last forever. We are the only creatures on Earth with a grasp of the future, and so we suffer the pain of our mortality. Says Stanley Charnofsky, a psychologist at California State University at Northridge, "All joy is tainted by pain, because there is the promise of the loss of it." Q. Why is the line "Romeo, Romeo, wherefore art thou Romeo" so famous? In Shakespeare's time, men played both male and female roles on stage. So the greatest poet of all time actually is a bit short in the department of heavy-panting romance. Most of the impassioned love speeches are monologues with the lover out of sight. In all his works, the most romantic and most famous moment -- and one of the few with two characters on stage -- is the balcony scene in "Romeo and Juliet." Why is the "Romeo, Romeo" line so memorized? "I think the reason it's so famous is that it's the opening line in the balcony scene," guesses Michael Kahn, artistic director of the Shakespeare Theatre at the Folger in Washington, DC. But let's go beyond that. We might note that the words are nice music: "O Romeo, Romeo, wherefore art thou Romeo? Deny they father and refuse thy name, or if thou wilt not, be but sworn my love and I'll no longer be a Capulet." Romeo is. (FYI: He's in the bushes!) A Shakespearean "wherefore" is not an inquiry as to location. It means "why." The context is clear: Juliet is upset that Romeo (whom she just met in a moment of instant teenage infatuation) is a Montague, and thus a sworn enemy of the Capulet family. When she says, "Why are you Romeo?" she is cursing her cruel fate and articulating the central tension of the play.