Maury is a tall fellow, with the emotional excitability of the hyperthyroid. His hands tend to shake and he digests his food too fast; they're giving him pills, and if those don't work he has to take radioactive iodine someday. If he stood up straight he'd be six three. He's got, or did have once, black hair, very long but thinning, and large eyes, and he always had a sort of disconcerted look, as if things are going all wrong on every side.

"No good musical instrument becomes obsolete," I said. But Maury had a point. What had undone us was the extensive brain-mapping of the mid 1960s and the depth-electrode techniques of Penfield and Jacobson and Olds, especially their discoveries about the mid-brain. The hypothalamus is where the emotions lie, and in developing and marketing our electronic organ we had not taken the hypothalamus into account. The Rosen factory never got in on the transmission of selective-frequency short range shock, which stimulates very specific cells of the mid-brain, and we certainly failed from the start to see how easy--and important--it would be to turn the circuit switches into a keyboard of eighty-eight black and whites.

Like most people, I've dabbled at the keys of a Hammerstein Mood Organ, and I enjoy it. But there's nothing creative about it. True, you can hit on new configurations of brain stimulation, and hence produce entirely new emotions in your head which would never otherwise show up there. You might--theoretically--even hit on the combination that will put you in the state of nirvana. Both the Hammerstein and Waldteufel corporations have a big prize for that. But that's not music. That's escape. Who wants it?

"I want it," Maury had said back as early as December of 1978. And he had gone out and hired a cashiered electronics engineer of the Federal Space Agency, hoping he could rig up for us a new version of the hypothalamus-stimulation organ.