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...refrains of most of our "socalled" gospel hymns are filled with needless repetition. As Dr. Wiant says, they "dupe" and "dope" us and are "sentimental and good for nothing." The type of tune found in many of these hymns is used outside the church for dancing and for popular love songs, and is hardly appropriate for expressing our Christian joy and striving for perfection...

Author: /time Magazine | Title: Letters, Sep. 21, 1959 | 9/21/1959 | See Source »

...faculty of Yenching University in Peking), and now director of music for the Methodist Church. In his Nashville (Tenn.) office last week, he stated his case. "We have to combat Communism with Christianity, and we just can't do it with gospel hymns. They dope us and they dupe us. The gospel hymn is a Victorian development-sentimental and good for nothing. Its message is that everything is blessed and peaceful. That's not the message of Christ. The message of Christ is 'Are you able to endure all things as I endure them-even crucifixion...

Author: /time Magazine | Title: Religion: Going Formal | 8/31/1959 | See Source »

...plot centers around a house in London during plague-time, transformed in its owner's absence to a headquarters for "casting figures, telling fortunes, news, selling of flies, and bawdry." The servant Face (James Stinson) and the Alchemist, Doctor Subtle, (Roger Moldovan) conspire with Doll-Common (Phyllis Ferguson) to dupe avaricious visitors who seek the gift of the philosopher's stone...

Author: By John D. Leonard, | Title: The Alchemist | 11/15/1957 | See Source »

What this country needs is a pushbutton to end all pushbuttons−to send the whole mess into one junk heap. The gadget-drunk public is the dupe of a gigantic industrial swindle geared to the plan of speeding the necessity of replacement. No more mechanical junk shall cross my threshold. I'm off for the hills, behind old Dobbin...

Author: /time Magazine | Title: Letters, Oct. 28, 1957 | 10/28/1957 | See Source »

...Fields. Though they have since moved into major concert halls, Gamson, Oxenburg and Co. still produce works that are rarely if ever done by other companies in the U.S. or abroad-Gluck's Le Cadi Dupe, Purcell's Witch of Endor, Cherubini's Medea, Handel's Julius Caesar. Despite packed houses, the company's current deficit runs to about $35,000 a season-which in the opera business really adds up to a howling financial success. Contributions ("We never know where we're going to get the money") cover the losses...

Author: /time Magazine | Title: Music: Opera for Gourmets | 10/21/1957 | See Source »

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