to explore new avenues for peace. Sol Stern wrote that "for the first time, high-ranking NLF representatives would... be included in discussions with American peace activists." Author Mary Hershberger wrote that the meeting, organized by SDS founder Tom Hayden and peace activist David Dellinger, "resulted in the first prisoner of war release to American peace activists." In her book, Dreams and Everyday Life, Penelope Rosemont wrote about the historic demonstrations outside the 1968 Democratic National Convention in Chicago. "Thorne Dreyer came into town from Austin, Texas, to edit the SDS wall poster called Handwriting on the Wall," she said. Handwriting on the Wall was published each night during the convention and posted all over town, playing an important role in keeping the thousands of demonstrators informed about the week's cascading events. These wall posters were featured in the 2011 exhibit, "Left to Right: Radical Movements of the 1960s," at the Lyndon Baines Johnson Library and Museum in Austin. The Rag In October 1966, the first issue of The Rag was published in Austin—partly in response to the election of an ultra-conservative editor of the traditionally-liberal UT student newspaper, The Daily Texan—with Thorne Dreyer and Carol Neiman as editors. (They were actually called "funnels," in keeping with the group's anti-authoritarian approach.) In his acclaimed memoir, Famous Long Ago, Ray Mungo wrote that "The Rag's chief 'funnel,' Thorne Dreyer, exercises an authority that is gentle and decent."The Rag was the first underground paper in the South and the sixth member of the Underground Press Syndicate (UPS). Cited by historian Laurence Leamer as "one of the few legendary undergrounds," The Rag was credited with being the first of its genre to successfully combine the radical politics of the New Left with the spirit of the burgeoning alternative culture, and, according to historian John McMillian, it served as a model for many papers that followed. Abe Peck, author of Uncovering the Sixties: The Life and Times of the Underground Press, wrote that "The Rag was the first independent undergrounder to represent... the participatory democracy, community organizing and synthesis of politics and culture that the New Left of the midsixties was trying to develop." Author Douglas C. Rossinow, described The Rag as "enormously important to local activists," and historian McMillian said that The Rag was regarded by the Austin community as "a beautiful and precious thing." The paper tempered serious political analysis with ample doses