Word: call
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Dates: during 1960-1969
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...material terms at least, the panorama of American progress is stupendous. Poverty, racial injustice and crime rebuke American affluence, but it verges on fantasy to call the U.S. a failed society. No other nation has ever remotely matched the U.S. in both human and material resources. The American problem is almost purely one of logistics and priorities: how to use these resources far more wisely...
...military dimensions of the commitment. Taken to the extreme, this attitude could turn isolationism; as it is, it is probably a sign of a healthy national reevaluation. Talking about U.S. Pacific Edwin Reischauer, former Ambassador to Japan, that the U.S. adopt a "lower profile," or what the Japanese call a "low posture." None of this suggests that the U.S. should- r could- withdraw into a Fortress America. But it does suggest does suggest that after Viet Nam, the U.S. might get along with a somewhat smaller military establishment...
...blame any body. But life has gone from here. Within a few years, this village will be empty. The face of Jose Flores Gomez is creased from 60 years of weather and laughter and, when he speaks, his dark eyes dance as though amused. Don Pepe, as friends call him, is not amused when he ponders the past and the future of his home, the Andalusian coastal village of Palomares. Last week, as he and his fellow villagers celebrated the feast day of their patron, St. Antony the Abbot, they also marked the third anniversary of the day when...
...groups may call themselves Black Students Unions or Afro-American Associations. Whatever their names, they claim to speak for as many as 90% of the Negroes on their campuses. Some, like the B.S.U. at San Francisco, are run by left-wing militants who are at least as radical as Students for a Democratic Society. Others, like Harvard's Association of African and Afro-American Students, prefer the civilized techniques of negotiation to a formal confrontation with white society...
Monday, 3 p.m.: Danish-born Pianist Gunnar Johansen, 63, gets a phone call at the University of Wisconsin, where he has been artist-in-residence since 1939. Boris Sokoloff, manager of the Philadelphia Orchestra, is on the line. Conductor Eugene Ormandy and Pianist Peter Serkin have disagreed on the interpretation of Beethoven's Piano Concerto in D Major, which Serkin was to play with the Philadelphians in Manhattan's Philharmonic Hall the following evening. Could Johansen fill in? Johansen has never even heard the piece, a little-known transcription by Beethoven of his only violin concerto. He dashes...