Word: clydes
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Dates: during 1960-1969
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...Ensemble performs the play, the discipline and virtuosity of the company turn a somewhat silly drama into a comic nightmare. European experience underlines every speech with blood. But Americans tend to regard gangsters with nostalgic indulgence as individualistic resistance fighters against society (witness the vast popularity of Bonnie and Clyde). In the U.S., the play takes on the eerie quality of a faintly sinister success story, in which an immigrant boy from Brooklyn overcomes his bad accent and deplorable manners to achieve dominion and power over the second largest city in the nation. In the Minnesota Theatre Company...
...heritage has been to summon up a sort of vivid, brittle nostalgia, and one tends to read his books now with the same bemused affection with which one watches the old Henry Fonda version of Grapes. It was precisely this quality of painful and wistful tenderness that Bonnie and Clyde conjured up in its visions, shot through gauze, of migrant Okies offering brief help to the murderers...
James Atlas is a sophomore and a member of The Harvard Advocate. Steven Stahler is a junior at Columbia majoring in physics. Clyde Lindsay is a senior and a member of Harvard Afro, and has served in the U.S. Army. Josh Freeman is a junior living offcampus on Beacon Hill. John Short is an editor of The Crimson Supplement. Joel Kramer is president of the CRIMSON. William Bryson and Adele Rosen are senior editors of the CRIMSON...
Nobody Dares. "Ken was doing psychedelic colorings before anyone even knew what psychedelic was all about," says Manhattan Fashion Illustrator Joe Eula. "Nobody dares to put color next to color the way he does." Scott also anticipated the Bonnie and Clyde look back in 1963, with clunky shoes and floppy beach pajamas. He was an early advocate of "unisex," designing his-and-her matching pants suits two years...
...Martin Kilson, member of the teaching staff, is not black enough. Says Clyde Lindsay, '69: "Professor Kilson will have to put some emotion in his lectures to let the students know that he has a perspective from which they can view the black man's historical experience in a light perhaps many of them have not considered." A letter to the Crimson from Jeffrey P. Howard, '69, adds this thought: "It should be clear from this point forward that Kilson's views are not particularly black -- he seems to have much more in common with his old-line colleagues...