Word: etting
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Dates: during 1960-1969
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Were the recent indictments of Spock, Coffin, et al part of a coolly calculated policy? Or an act of desperation? Or both? Let me suggest a context which may explain why the government chose this time to prosecute some articulate and famous spokesman from the draft resistance movement...
Finding time running out the government now seeks a dramatic confrontation to prove that even famous people involved in draft resistance are not immune from prosecution. The fundamental purpose of this attack is not to put Spock, Coffin, et al away, to make martyrs of them, but to intimidate into inaction those thousands of others whose daily activities now give life to the movement, those without whom Spock and Coffin, for all their courage, would be isolated and ineffective. A week ago no one could have predicted the outcome. Today it is clear that the government has failed. Moreover people...
Despite alltime-record output of wheat, rice, feed grains, soybeans, pea nuts, sugar cane, meat, poultry and eggs, America's 3,000,000 farmers will pock et 10% less income this year than in 1966. After six straight years of rising income amid inflation, the slump in prices gives the farmer less net purchasing power than he has enjoyed since mid-Depression 1934. While complaint has always been their bumper crop, U.S. farmers last week threatened to beat their plowshares into swords...
Many also achieved secondary but more lasting fame: Marie Duplessis was the prototype for the heroines of Dumas' La Dame aux camelias and La Traviata; Blanche d'Antigny was transformed by Zola into Nana and Apollonie Sabatier was the real-life la Muse et la Madone of Baudelaire's Les Flews du nuil. If these coquettes shared a single trait, it was by no means beauty but an indomitable will to succeed and the ability to overcome natural handicaps. A practical sort was Blanche d'Antigny. An inordinately heavy sleeper, she found early in her career...
Both companies held back on real novelty until later in the week, and here the New York City Opera moved decidedly ahead. In an attempt to give French opera more of a play, the Met revived and refurbished Charles Gounod's hopelessly languid Romeo et Juliette-an opera that only illustrates the composer's remarkable capacity for turning great poetry into sentimental salon entertainment. Furthermore, the performance was sadly deficient in the French accent, both in words and music. Franco Corelli nearly strangled on every attempt to produce the pure Gallic B-flat, while all of Soprano Mirella...