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...dubbed the "uptight liberal" who insists on purity of doctrine, forgets that politics is the business of solving problems, and eats soul food even though he does not like it. By this standard, Moynihan qualifies as a downright loose liberal. He is loose in ideology-perfectly willing to blend liberal with conservative programs. He is loose in party affiliation, having served both Democratic and Republican administrations. He even acts loose. Amid the good gray personalities of the Nixon Administration Moynihan sports sideburns, drinks his whisky straight and displays a puckish humor...

Author: /time Magazine | Title: Essay: A Whig in the White House: Daniel P. Moynihan | 3/16/1970 | See Source »

...Colombian coast. "Nothing interesting has happened to me since," he has said. His experiences there were eventually transformed into a tenderly comic novel, just published in the U.S. after three years of enormous success in Latin America. It has survived export triumphantly. In a beautiful translation, surrealism and innocence blend to form a wholly individual style. Like rum calentano, the story goes down easily, leaving a rich, sweet burning flavor behind...

Author: /time Magazine | Title: Books: Orchids and Bloodlines | 3/16/1970 | See Source »

...their confidence, the Japanese are enduring acute modernization pangs. Until a century ago, Japan was semifeudal, primarily agricultural and almost totally insulated. Today it is a sometimes baffling blend of West and East...

Author: /time Magazine | Title: World: Toward the Japanese Century | 3/2/1970 | See Source »

...Band. The group plays 15 instruments proficiently, and employs as many as ten in concert. The instruments are played without gimmicks-there is no fuzz bass, no reverb, no echo to The Band. The emphasis is on talent, unaltered ability, and the result is a near-perfect blend of keyboards, guitars, and percussion...

Author: By Robert Decherd, | Title: Concerts The Band at Boston College last Saturday | 2/27/1970 | See Source »

...deux and dances for the corps are almost chastely classical; yet Broadway keeps breaking in. After a serene, supple lift, two dancers will suddenly embrace in a highly stylized foxtrot. A sequence of pirouettes will lead into a flashy split or a sensual side step. The incongruities somehow blend into a consistent display of Balanchine's mastery of forms. Who Cares?, in fact, is practically an anthology in action of his knowledge of dance. Male Lead Jacques D'Amboise has separate pas de deux with three different ballerinas (Marnee Morris, Patricia McBride, Karin von Aroldingen). The mood...

Author: /time Magazine | Title: Dance: Manhattan, Wry and Sweet | 2/16/1970 | See Source »

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