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...sold, reproduced or even moved from its position on the wall. Future control of the foundation, he decreed, would be in the hands of trustees appointed by Lincoln University, a small black college in Lincoln University, Pa. Since then, alumni of the school he founded in 1922, which replaced factual art history with a proto-New Age veneration of beauty, have increasingly formed a fiercely loyal and protective cult...

Author: /time Magazine | Title: Want To See Some Secret Pictures? | 4/20/1992 | See Source »

Replied Tsongas: "I will take off any ad you don't like. What could be more fair than that?" Clinton would consent only to correct factual errors that were made in his ads. "I want to continue sharpening the differences ((between us)) for the American people," Clinton said...

Author: /time Magazine | Title: A Clash of Visions | 3/23/1992 | See Source »

Obviously the "edited" version of this statement that The Crimson printed does serious injustice to the point I actually made in my speech. At best, this represents irresponsible journalism; at worst, it indicates exploitation of the privilege you wield in conveying "factual information" to the Harvard community...

Author: NO WRITER ATTRIBUTED | Title: Protest Speech Misquoted | 2/18/1992 | See Source »

...industrial fever to the fresh air of environmentalism -- Robert Schenkkan's THE KENTUCKY CYCLE, playing at the Mark Taper Forum in Los Angeles, aspires to no less than a history of the U.S., spanning two centuries in seven hours. If his view of the past is cruel, his factual grounding is solid. But what makes the work so hauntingly memorable is a poetic impulse, not a prosaic one. He confines the action to the same few hundred acres of his ancestral Cumberlands, telling a nation's story in terms of feelings for that patch of land among three families intertwined...

Author: /time Magazine | Title: Theater: Ritual and Realism | 2/10/1992 | See Source »

What Bismarck said of legislation and sausages, one must also admit of the more titillating varieties of journalism: those who love the product would do well not to examine the process too closely. That is especially so with the faddish nonfiction genre of factual crime reconstructions, in which, for tactical reasons of getting the inside story, authors generally ally themselves either with careerist police detectives and prosecutors, or with pathetic victims cooperating in a further invasion of their privacy, or with criminals. Each bond can be unseemly, its results distorting...

Author: /time Magazine | Title: The Journalist and the Murder | 10/14/1991 | See Source »

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