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...Patriotism is alive and well at Con Thien. KENNETH F. STRICKLAND Captain, U.S.A.F. Hampton...

Author: /time Magazine | Title: Letters: Nov. 17, 1967 | 11/17/1967 | See Source »

...last two aspects of his talent are most in evidence in The Trials of Brother Jero and The Strong Breed, though the two one-acters rank among his lesser plays. Brother Jero is a broad spoof of a religious humbug, a con man of prophecy who lives by mulcting his worshipers, or "customers," as he calls them in moments of absent-minded lucidity. He preys on their hopes, fears and vices, his own trial and joy being inveterate womanizing...

Author: /time Magazine | Title: Off Broadway: Infectious Humanity | 11/17/1967 | See Source »

...Purple Hearts and news from home. "Who won the Minne sota-Michigan game?" asked a Minnesota sailor. "We took them 20 to 15," grinned Old Gopher Humphrey. Jetting up to Phu Bai, a small Marine outpost near the embattled DMZ, he boarded a transport plane for a look at Con Thien and Dong Ha. Circling at 1,500 feet, he Watched Marine artillery fire slam the Communist positions hidden among the craters ("Just like Minnesota," he said, pointing to the thousands of rain-filled shell holes), then landed at Danang for an afternoon of pep talks and presentations (a Presidential...

Author: /time Magazine | Title: Foreign Relations: Northwest's Passage | 11/10/1967 | See Source »

...entirely of legs, breasts and lips emerging from an immense, sculptured yellow taxicab. He has spotted yellow as New York's special color. "It is an American yellow," he says, "the color of optimism. It's in the taxis, in the mustard, in the Kodak boxes and Con Edison construction tents, in the sanitation trucks." It is a joyful color, which reminds him of the sun. But he adds, "It is also the color of madness...

Author: /time Magazine | Title: Painting: Plaster Apocalypse | 11/10/1967 | See Source »

Yannatos and his orchestra performed the symphony without condescension. By treating it as legitimate music, giving it as much attention and respect as the other two works, they saved the Tschaikovsky from the disaster that is inevitable when it is played as camp. The famous Allegro con grazia in five-four was captivating rather than sentimental (bravo 'cellos!), and the rousing march-like third movement was rousing instead of vulgar...

Author: By Robert G. Kopelson, | Title: HRO | 11/6/1967 | See Source »

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