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Harold McDougall, assistant head of ISSP, said, "The whole black communty (on a national scale) has been catalyzed in the last year. Last year, if one black saw another, he might wonder, "Should I say hello to this guy? Maybe he wants to blend in and I shouldn't embarrass him by having a Negro say hello...

Author: By Lawrence K. Bakst, | Title: Blacks Cite Racism in Summer School | 8/6/1968 | See Source »

What Ludwig created was a style. Though politically a puppet, he possessed the taste, the ability and the resources to blend Romanesque, Oriental, Moorish and rococo influences into what later became known as the Jugendstil-the German equivalent of art nouveau. Petzet's point is spectacularly documented in a dramatic display of 907 paintings, drawings, costumes, stage models, furniture and other rarely seen bric-a-brac commissioned and closely supervised in their execution by Ludwig for his many projects. The lot is installed for the summer in a wing of the Wittelsbach family palace, formally known as the Munich...

Author: /time Magazine | Title: Exhibitions: Eclectic Eccentric | 8/2/1968 | See Source »

...comparison of Les Cousins with Marie-Chantal (you can see it dubbed on TV as The Blue Panther every so often) reveals the latter film ludicrously written in contrast yet wildly more mature stylistically, a riveting blend of calculated camera movement in sensual decor with brilliantly cut sequences of action employing the zoom lens. Far from stagnating in the world of commercial mystery films, Chabrol has emerged the finest new stylist in France, far superior to Truffaut (whose Bride Wore Black pales in comparison), and in many ways surpassing Godard and Resnais...

Author: By Tim Hunter, | Title: Claude Chabrol's The Champagne Murders | 8/2/1968 | See Source »

Blair's blend of precision and poetry is clearly apparent in his restaging of Giselle, the tragedy of a lovelorn Rhineland village maiden betrayed by a slumming nobleman. In other versions, Giselle frequently seemed to be a compendium of everything that is unreal and artificial about the art. As danced by Ballet Theater, this 19th century classic had a touch more of naturalism than never-never; the lead roles were performed with relaxed grace by Carla Fracci, on loan from the La Scala Opera Ballet, and Denmark's Erik Bruhn, still the supreme stylist among the world...

Author: /time Magazine | Title: Dance: Rediscovered Promise | 7/26/1968 | See Source »

...stomach, hammers clanged on anvils in the head. It was getting increasingly difficult to tell whether the little old winemaker was getting tanked on Drano, or pushing Ken-L Ration for hungry Living Bras. Gradually, after 20 years of hard-sell harangue, viewers developed a kind of filter blend up front. They did not turn off their sets; they turned off their minds. Admen refer to that phenomenon as the "fatigue factor," but their research departments know it by the more ominous name of CEBUS (Confirmed Exposure but Unconscious). In one recent survey, 75% of the viewers tested...

Author: /time Magazine | Title: Television: . . . And Now a Word about Commercials | 7/12/1968 | See Source »

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