Evening star. [volume] (Washington, D.C.) 1854-1972, 1929-07-07

can be no crooked Work IN the
bull ring because you can't talk to
the bull. You can't tell him to lie down and
you viii divide the purse with him. You either
get him or he gets you."
You have this on the authority Of Americas
only representative in the areana of blood and
Sand-Sidney Franklin, Brooklyn boy, who
never even saw COW until he was 49, and then
at a Long Island agricultural show. Now, OF
the age of "a, he is accorded the same measure
of respect by Mexican and Spanish bullfight
fans as Babe Ruth is accorded by the American
base bah public.
For Franklin is not Bush league performer,
to borrow base ball expression, but one of the
best in the bulldghting business. The most
conservative rating places him along the first
five performers in Mexico and there is nothing
in the record books" that keeps him from be-
ing rated with Rodolfo Gaona, Mexicos most
famed matador.
The story of how this New York boy, born
and reared among typical American surround
ings became champion matador IS unusual
only because the ancient pastime OF the Latan
countries has had an appeal of almost exactly
zero for American youths Otherwise, Frank
lin has done as most other American boys have.
He saw a field that attracted him and he be-
came as skilled in that field as he could.
It is a far cry from the Brooklyn neighbour
hood where franklin was born, and where his
parents still live, to such places as Seville and
Toledo where toreadorS are born and made.
But when he steps into the greatest bullhghc
arena in the world at Seville, Spain, late this
Summer to match wits and agility with an
infuriated bull his mother, father, four sisters
and three brothers in Brooklyn will be as much
concerned in the outcome as the families OF the
Spanish matadors who come up from the
provinces.
Franklin's boyhood days were spent in the
usual American fashion. At school he was
known as good athlete, especially in SWIM
ming and track. He took up art in high school
and liked it so well that he continued it when
he entered Columbia University. Upon his
graduation he went to work as commercial
artist for New York advertising firm.
If that firm had stayed in business Sidney
Franklin probably would not be bullfghter
today. But 1t didn't and Franklin was without
a Job for months. Then friend in Mexico
City offered him an opportunity to bring his
art talents there and Sidney put the matter
up to his parents. They advised him to go.
Helen, Sidney's Oldest sister, says that If her
parents had known what their consent was
going to lead to they never would have given
it. But fate has habit of taking hand i'll
the movements Of human beings and so in a
short while Sidney was not only engaged in art
work in Mexico City, but had seen his first bull
fight.
The famed Rodolfo Gaono had been the
matador and Franklin was thrilled by the
spectacle He described it in detail to his sister
Helen and this is her vision Of it:
ssTHE Mexico City arena is big amphi-
- theater with tiers of backless stone seats
which terrace up to the balcony and boxes.
The sounding of bugle is a signal that
the days festivities are to begin. Two horse
men prance forward through the gates and go
to salute the presidential box. After this brief
rite they circle the ring in opposite directions
and return to the gate.
There is nanother bugle call and this time
the entire company, consisting of toreadors,
banderilleros and picadores- each attired in
bright-colored tight-ftting uniforms
their appearance. Again there Is brief cere-
mony before the presidential box and then
everything Is cleared for action.
"The company scatters to places along the
barrier which protects the audience from bulls
that run amuck.
Another bugle call and bull comes into the
arena looking for trouble The first persons to
tome in contact with him are the toreadors
and the banderilleros. Using the red mantle,
they toy with him. When the bull charges,
they sidestep.
This routine is kept up for several minutes
Then the banderilleros enrage the bull by
tossing festo0ned darts into his shoulders
Another natador then steps in and after be-
coming acquainted with the bull and his moods,
proceeds to hypnotic him by waving the red
mantle In his face.
THE climax Of the afternoons performance
Is the Killing Of the bull. That's the matador'S
Job"
That first performance in Mexico City settled
Sidney Franklin's future. The drama Of q
beast and man engaged in deadly combat
Intrigued him.