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...title of the conference is basically areference to the viewpoint held by Jones andHardy, that the sexual revolution of the 1960s wasserious cause of destruction to the Black family,according to McDonald...

Author: By Anna D. Wilde., CRIMSON STAFF WRITER | Title: Peninsula Flier Draws Accusations of Racism | 4/17/1992 | See Source »

...there is no doubt that Salada takes their saying the seriously. A Salada promotional brochure from the 1960s reads: "The sayings fall into the categories of Witty, Philosophical, Inspirational, and Humorous; many are Maxims for Daily Living in Brief Form [MDLBFs, of course], while some are really Home Truths which Really `Hit the Nail On The Head' [HTWRHTNOTHs, for those in the know...

Author: By Nelson Y. Wang, | Title: Confucius Says: Drink Salada | 4/16/1992 | See Source »

...letter sent to Dean Robert C. Clark and the Law School administrative board, Jackson compared the students' overnight sit-in outside Clark's Griswold Hall office to civil rights protests of the 1960s...

Author: By Natasha H. Leland, CRIMSON STAFF WRITER | Title: Jesse Jackson Defends Law School Sit-In | 4/16/1992 | See Source »

Accordingly, by the early 1960s, Price, now 57, had started using auto enamels and industrial pigments along with the low-fired glazes on his work. These gave an extreme density of color and, unlike in traditional pottery, a relentlessly inorganic and sinister look to his "eggs," enameled clay shells with weird lobes like giblets or tongues merging from fissures in their surface -- an "Invasion of the Body Snatchers aesthetic," as someone remarked at the time. Its payoff would come 20 years later, with pieces like Big Load, 1988, and Stamp of the Past, 1989, ceramic chunks like blotched meteorites, with...

Author: /time Magazine | Title: Art: The Faberge of Funk | 4/13/1992 | See Source »

...series of cups followed the eggs, through the 1960s and '70s. In a sense the cups were Price's bread-and-butter work -- they were popular, and no California collector's knickknack shelf was complete without one -- and yet they were consistently inventive and spry, displaying a constant buzz of fantasy and a growing mastery of color. Sometimes, as in Gaudi Cup, 1972, the intensity of the glazes seems to have literally broken down the form of the ceramic into tiny glowing shards. This sense of color as a veneer on a flat surface gets turned into a form...

Author: /time Magazine | Title: Art: The Faberge of Funk | 4/13/1992 | See Source »

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