Word: blackness
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Dates: during 1920-1929
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Last week at Douglaston, Long Island, onetime farming community, now haven of commuters, a teapot which had simmered for many a long month finally boiled over. The simmering started in February when the vestry of Zion Episcopal Church asked the pastor, Rev. M. W. Black, to resign. In asking for the resignation the vestry offered Rev. Black 18 months pay if he would leave quietly, permanently, and at once. Rev. Black, married, father of three, quietly refused to leave, continued to occupy Zion's pulpit. In August the vestry, vexed, refused to pay Rev. Black further salary. Still...
...that the vestry would seek the aid of the diocese, go into the civil courts, if necessary, in the effort to have its wish respected. Concurrently Arthur W. Sullivan, senior warden of the church, general manager of the sales department of the Tidewater Oil Co., explained why the Rev. Black was so thoroughly undesired...
...Some people," said he, "have force, personality, leadership. With others it's just the opposite. Mr. Black is a kindly, gentle, fine individual, but as a leader, an up-to-date fellow, a go-getter-why he just doesn't know the first thing about it. At best, the church is standing still. In a growing community like Douglaston we need a live wire. We tried to play ball on this proposition. We offered to take care of him for 18 months. But he became stubborn, showing his inability to realize what is best for the church...
...What would Haitians think of these faces?" wondered strollers through the Ainslie Galleries, Manhattan, last week. At them leered, from canvas, black faces-the faces of Negro Frenchmen, Negro Britishers, Negro Jews. The faces-explained a leaflet signed by famed Explorer William Beebe-were part of an artistic haul made by three painters who accompanied him to Haiti on the tenth expedition of the New York Zoological Society. "Never, I believe," wrote Explorer Beebe. "has any one country been so vividly presented in crayon, water color...
...characterless puppets who support her. On the screen she had as distinct an individuality as Theda Bara ever had, but on the Metropolitan stage she was unable to glitter as in "Fascination" or "Peacock Alley". The romance of the Merry Widow waltz left the "Publix" patrons cold, whereas less black velvet and fluffy chiffon and more red hot syncopation a la her Ziegfield "Follies" days would have attracted the thunderous applause with which the "Publix" audience greets atrocious slapstick. Miss Murray must be admired, most of all, because she refused to descend to the level of her audience...