Word: colorism
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Dates: during 1960-1969
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Some conductors prefer Beethoven, others Wagner. Some like sopranos, others tenors. Conductor Peter Maag's rather specialized preference is for the key of E-flat major. "Tonalities are like colors," he explains. "Have you noticed that when Mozart attacks E-flat he al ways uses clarinets, and when he attacks D-major he always uses oboes? E-flat suggests something very mature and saturated. D-major music is whiter and sharper. E-flat suggests a dark tone, a dark color like dark blue or green...
Seal Limbs. After three months of frustrating legalities, the people in the crowded courtroom saw for themselves the naked evidence of thalidomide's devastating effects. Dr. Lenz showed color slides of children with no arms, or no legs, or only seal-like flippers where arms and legs should be. Some of the pictures came from post-mortems and showed malformations of the heart and other internal organs...
Normally the stuff of detective novels, such conundrums also bedevil scholars attempting to identify works of art whose authors are unknown. No matter how long such a painting has been hanging, the museum director cannot pass it without a worried, questioning glance. Illustrated on the following color pages are four famous mysteries that have resisted every detective effort...
Difficult Job. For one hour's transmission of color television between New York and Paris, the service charges from $11,500 to $18,625, depending on the day of the week and the time of the day. Similarly, black-and-white television prices range from $8,350 to $13,100 an hour. The returns, of course, are high. On a total joint investment of approximately $103 million as of July 31, members distributed some $33 million in profits among themselves. Communications Satellite Corp. (better known as Comsat), representing the U.S., realized a net income of more than...
...enough to support yet another tremulous version of the girl-in-a-woman's-body theme. Director Robert Enrico tries to lend his slender scenario some contemporary relevance by forcibly inserting a variety of fashionable camera techniques and casting a Negro Maoist. Though his color photography begins effectively-notably in Zita's terror-glazed recollections of the Spanish Civil War-it ends by stifling the film in a glut of self-consciousness. Annie's seduction scene, for example, is absurdly overplayed in slow motion. Such sequences may look poetic in the cutting room; in the rhetoric...