Word: clive
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Dates: during 1960-1969
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...black frustrations in Detroit auto plants and deplores the violent response of mindless black militants. WORLD discusses the Soviet Union's foreign-policy problems and finds that the Russians have very little room for maneuver. PRESS turns the writer-critic relationship completely around with a critical appraisal of Clive Barnes, dance and drama critic of the New York Times...
...Hogarth, the voluminous suit by Khrushchev's tailor. An excess of ergs twitches his head and fingers; the English hair and teeth, the cockney-of-the-walk intonations announce his presence in the densest lobby crush. In the past two years, the New York Times's Clive Barnes has become a public character, the most theatrical and prolific critic since the days of Alexander Woollcott...
There was. "I was your typical working-class overachiever," says Barnes. Like soot and Dickens, he is a London slum product. His father, an ambulance driver, deserted Mum when Clive was seven. The brilliant, chunky lad played his part well in school; a scholarship helped him into Oxford's postwar meritocracy, along with Director Tony Richardson and Sunday Times Arts Columnist Alan Brien. As soon as Brien had a leg up on Fleet Street, he brought along his protégé. Barnes' reputation for fluency was instantly evidenced in music, drama and dance criticism."He just liked...
Well, almost. The supporting actor who was playing Clive Barnes in the early New York days was considerably different from the star who plays him now. In his first few months on the job, listeners to the Times radio station WQXR were astonished to hear a London lisp on the evening news: "Thith ith Cloive Bawneth, dawnthe cvitic of the New Yawk Timeth." A put-on, many decided. But the speech defect was real. The speaker, moreover, was as straight as a line of type. After shedding his first wife of ten years, Barnes married Patricia Winckley, a lithe balletomane...
Even before Barnes became drama critic, his appetite for theatrical performances was notorious. "If you dimmed the lights in a car," says a fellow critic, "Clive would have tried to review it." Two years ago, after Howard Taubman succeeded Brooks Atkinson and Stanley Kauffmann succeeded Taubman, the New York Times turned to Clive Barnes. His first reviews ran on heedlessly, as Barnes reviewed the theater, the audience, the seats. But by the following season he was as relaxed as an actor in the second year of a hit comedy, still babbling, but in the manner of a relaxed and witty...