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...unsuccessful coup underscores the growing unpopularity of Hassan's regime. The King's appearance on movie screens evokes catcalls and gibes. Students brazenly parade donkeys labeled "King Hassan" through the streets. Charges abound of corruption in high places, authoritarianism and nepotism favoring an Arab elite in a predominantly Berber community. The military, which holds the only organized power in a country where factionalism among rival parties and labor unions has dissipated the political opposition, is demonstrably coup-happy. After the even bloodier attempt on his life last year, Hassan moved to initiate reforms. Obviously, he has not moved...

Author: /time Magazine | Title: MOROCCO: Et Tu, Oufkir? | 8/28/1972 | See Source »

Other peculiarities of military speech and tone abound: an officer's continual mispronunciation of a soldier's name, the false bravado and condescension of childish officers and men, and hyperbole filled with paradoxical accuracy...

Author: By Peter M. Shane, | Title: Obscenities | 8/15/1972 | See Source »

...this is hardly the Utopia of a beautiful pastoral people described by recent visitors. Construction materials abound on the main streets of Peking. Straw mats shield new buildings. It is a backward, proud country struggling furiously to grow and improve...

Author: /time Magazine | Title: The Nation: The President's Odyssey Day by Day | 3/6/1972 | See Source »

Examples of resourcefulness abound in the studio. Sally Glazer '72, the technical assistant in charge of the clay room, mixed as much as 600 pounds of clay a week during last semester's peak periods. The purchase of large quantities of studio clay, and the careful use of recycled scrap, meant that Glazer could keep the cost of clay under a nickel a pound. Since ready-mixed clay costs two or three times this amount, the studio saved over $600 on clay for the first semester...

Author: By Margaret S. Mc kenna, | Title: Tortured Turns of a Potter's Wheel | 3/4/1972 | See Source »

...Sweeney's portrayal. Ms. Weeks' direction at times is good--the scenes with the Valet at the very beginning of the play, for example, are played with a dash of puckish cynicism, and work well. But the production throughout is marred with sloppy blocking. Meaningless turns and faltering steps abound; the scene at the end of the play when the characters finally realize the permanence of their condition fails because of weak direction...

Author: By Kenneth G. Bartels, | Title: No Exit | 1/14/1972 | See Source »

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