Word: ghettoes
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Probably the crudest dilemma facing the new middle class is their relationship with blacks left behind in the ghetto. It is natural enough for the middle class to pull out of the slums once they can afford to-just as other ethnic groups have done. But by leaving, they abandon those who cannot escape the ghetto to its more rapacious elements, aggravating the spread of crime and decay. Small wonder that middle-class blacks feel some guilt and ambivalence about fleeing to better neighborhoods...
...government at Harvard. He has charged that college-admissions officials have been discriminating against middle-class black youths in the interest of recruiting poor blacks-an attitude that he says is based on the quixotic notion that the genuine black experience is only to be found in the ghetto. As a result, said Kilson, some of the most prestigious colleges in the country have been accepting ill-prepared militants who divert more qualified students from their studies...
...easy to guess whether the police would have so cavalierly destroyed the SLA's hideout had its members fled to a stucco mansion like the Hearsts' in Hillsborough rather than to the modest home of a black family living on the edges of a southeast Los Angeles ghetto. That the police should have appeared "the good guys" on television was ironic, all the more so because California authorities are using SLA activities as an excuse for rounding up dozens of Bay area radicals on unverified charges...
...alas, is quite a lot. Dybbuk, which was given its world premiere at Lincoln Center last week by the New York City Ballet, is a wan and murky evocation of the Hasidic legend that is all but drowned in a sea of pretentious metaphysical subfusc. The dybbuk story, a ghetto version of Romeo and Juliet given classic shape in Shloime Ansky's 1916 Yiddish play, involves the star-crossed lovers named Channon and Leah. Once their fathers had taken a vow that some day their children should wed. By the time boy meets girl, the vow has been forgotten...
...modern pastiche-a murmuring of Mahler here, a shriek of Stravinsky there, stray leitmotifs of Hasidic melody to suggest ethnicity. Robbins' choreography matches the music, sometimes cliché for cliché. When the orchestra explodes in a burst of Yiddish song, dancers sway sinuously, as if at a ghetto wedding. There are great yaps of brass at Big Moments of high stress; on stage, the performers thrust splayed hands to the skies or to the audience as if they had just discovered Martha Graham...