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...espoused a liberal Democrat's line, arguing in 1960 with his parents--who were considerably more leftist than he that Kennedy and Nixon really were different. He didn't see much that he could change in America, so he took his Ph.D. and good intentions to India, a neo-classicist Peace Corps man. At the time, he didn't realize it, but he was joining a Harvard generation of future radical economists in Third World countries Sam Bowles in Neigria. I am Weisskopf in India, and MacEwan in Pakistan. All went abroad as "straights" Marglin recalls that...

Author: By Tom Lee, | Title: The Radicalization of Stephen Marglin | 5/12/1975 | See Source »

...born visualizer." Roughly in this order he began to paint in the style of Hokusai, Degas, Gauguin, Whistler and Matisse. By the time he reached Oxford, he knew he was not an artist; but he was irrevocably attached to the scale of the masterpiece-what a friend, Classicist Maurice Bowra, called "big stuff...

Author: /time Magazine | Title: Books: Clark's Pique | 4/21/1975 | See Source »

...struggle, as Clark wryly makes clear, that can be neatly schematized. The same movement, after all, encompasses Ingres, "imprisoned within his obsession with the outline," and Turner, experimenting with pure, nearly formless color. Indeed, Clark finds romanticism's unconscious beginnings in the work of the last great classicist, David, and in Goya, deaf, hating and isolated beyond the Pyrenees. As before, Clark is wonderfully deft at demonstrating the cross-pollination of ideas and more than ever willing to express his own impatience with the second-rate. Even his beloved Turner is charged with doing some "corny" paintings...

Author: /time Magazine | Title: Television: The Pleasures of Clark | 1/20/1975 | See Source »

BLACK COMPOSERS SERIES (Columbia, 4 LPs). The initial releases in an ambitious series take a kaleidoscopic look at the music of black composers, from the contemporary William Grant Still back to 18th century Classicist Chevalier de Saint-Georges...

Author: /time Magazine | Title: Music: The Year's Best LPs | 12/30/1974 | See Source »

...unveiled his headliners in the second half, an aura of professionalism blanketed the local performers. Fontana, a sprawling red-shirted mass, bellowed out a beautiful, conventional rendition of "Polka Dots and Moonbeams," and then offered a fine interpretation of Bill Howard's "Carl," with an ingenious improvisational tag. The classicist gave way to the more experimental Wilson, who flirted with his own creation "Mother England." Wilson "kibbitzed" with his instrument, contorting the sound until an exasperated Fontana blurted out from the wings, "You can't do that with the trombone...

Author: By James Cramer, | Title: Up-Beat | 5/6/1974 | See Source »

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