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...upon me to set a good example for anybody's kids but my own," refused to sign autographs because "I owe the public the same thing it owes me-nothing." As a coach, Russell admits, he will have to improve his public relations. "But I won't conform to anybody's code of behavior," he insists. "My name is still William Felton Russell. I'm not going to sell my soul...

Author: /time Magazine | Title: Pro Basketball: All the Credentials | 4/29/1966 | See Source »

Rating himself on a liberal-radical-militant scale, Epps opts for radical. Harvard has applied no pressure on him to conform to the conservative stereotype of a college dean. "I do what my conscience leads me to do with the knowledge that I will accept the consequences of my actions," he says. "Some say now that I'm a dean I should work to consolidate my power and work on Negro affairs, but that is not my moral philosophy. I will support all movements for social change because there is not much hope of moving the Negro into the twentieth...

Author: By Stephen D. Lerner, | Title: Archie Epps | 4/27/1966 | See Source »

...World War II frogman, called in Ponder and several other teachers to discuss Minter's scholastic difficulties-"not in an official capacity, but as a friend of the boy's dad." A few days later Captain Robert S. Hayes, head of the language department, ordered Ponder to conform to the flunk quota. Ponder refused: "I won't do it. I won't permit it to be done." He was thereupon flunked as an unsatisfactory teacher; his contract lapses in June...

Author: /time Magazine | Title: Service Academies: Flunk Quota at Annapolis | 4/22/1966 | See Source »

...festivals, sponsored by Adams, Dunster, Leverett, and Quincy Houses and the Yard, conform to no set pattern...

Author: By Robert J. Domrese, | Title: The Arts Festivals at Harvard-Each Has Its Excuse for Being | 4/22/1966 | See Source »

...arts as the Medicis did in Italy. The unknown artist profiles the Indian-born patriarch, a posture seldom used before, and gives him a Japanese face. As a light touch, the great priest's shoes appear below his chair, casually kicked off rather than neatly lined up to conform to Japanese etiquette. The picture is incredibly shallow spatially; the chair legs appear to be on a single plane, the monk's robe swirls from his back to his sleeves as if it were turning inside out. But this would not bother the Japanese; they used "bird...

Author: /time Magazine | Title: Exhibitions: A Bird's-Eye View | 3/11/1966 | See Source »

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