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CHICAGO, Dec. 6 -- Milton Friedman, professor of Economics at the University of Chicago, argued the case for a volunteer army at the conference on the draft here today, and many delegates found to their evident surprise that they agreed with...

Author: By Charles F. Sabel, (SPECIAL TO THE CRIMSON) | Title: Friedman Tells How to End Draft | 12/7/1966 | See Source »

Director Tim Hunter has given Forum plenty of sight-gags and a Burlesque flavor, the two prerequisites for getting boffs. But you laugh hardest when the pace is fastest, and it moves like the Marx Brothers whenever Steve Kaplan, Arthur Friedman, Robert Bush, (or any combination of them), are on stage. Kaplan is the funniest Roman of them all, and he plays the conniving lead, Pseudolus, with deadly timing, a rubber face, a protean voice, and a Stoic endurance of pratfalls. His is a virtuoso performance, and at one point his delivery of a line stops the show cold. When...

Author: By Timothy Crouse, | Title: A Funny Thing Happened on the Way to the Forum | 11/12/1966 | See Source »

...Arthur Friedman, playing a ruined procurer, and Bob Bush as an hysterical slave, bring to their roles the high desperation and brisk timing which make farce funny...

Author: By Timothy Crouse, | Title: A Funny Thing Happened on the Way to the Forum | 11/12/1966 | See Source »

...game and made it safer. Massed defenses, designed only to stop a crunching ground attack, swiftly became obsolete as more and more teams included the pass among the weapons in their arsenals. Still, brilliant passers, brilliant receivers-and brilliant passing combinations-were few and far between. There was Friedman-to-Oosterbaan, of course. There were Alabama's Rose Bowl champions of 1935, with Dixie Howell throwing to Don Hutson-who later went on to the Green Bay Packers and set five National Football League pass-receiving records that still stand today...

Author: /time Magazine | Title: College Football: Babes in Wonderland | 10/28/1966 | See Source »

...small film projector and mirror arrangement to the right of the cab, which beamed the movie onto the truck's frosted windshield. Watching it, one housewife confided: "That's the way my husband drives." Chuckled a young executive: "I go through that every night." Juror Martin Friedman, director of Minneapolis' Walker Art Center, put it another way: "I found it very moving. Actually," he said, "by treating the man almost as a ghost, as a calcified figure, Segal presents you with reality, then questions the existence of reality." The driver? A neighboring chicken farmer, Leon Bibel...

Author: /time Magazine | Title: Exhibitions: One for the Road | 8/26/1966 | See Source »

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