Word: grahame
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Dates: during 1970-1979
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...desks one morning last week, they found a cryptic memo from Editor Edward Kosner summoning them to a 10:30 meeting at Top of the Week, the conference room on the 40th floor of the magazine's Manhattan headquarters. When they arrived, they were surprised to find Katharine Graham, chairman of the parent Washington Post Co. Recounted one writer: "People began to murmur, 'God, we're closing down ... We've been bought...
Nothing so dramatic, but something quite unexpected. Kosner, 42, stepped onto the podium, announced tersely that he was leaving the magazine that day, thanked the staff and left the room to applause. The whole performance lasted perhaps two minutes. Then Graham took the podium and delivered another shock: Kosner's replacement would be Lester Bernstein, 58, a vice president for corporate communications at RCA who had left Newsweek in 1972 after being passed over for the editor's job. It was the fourth change in top editors at the magazine in the past ten years...
Kosner, a graduate of New York's City College, became editor in 1975, after twelve years at the magazine. He learned of his dismissal only the afternoon before, during a stormy, 2½-hour meeting with Graham and Newsweek President Peter Derow. He was described as shocked, but associates said that he may have missed subtle signals of Graham's displeasure. Under Kosner's predecessor, Osborn Elliott, now dean of Columbia's Graduate School of Journalism, Newsweek was briefly known on Madison Avenue as a "hot book" because of improved editorial vitality and attendant advertising...
...Remember...elegance, distinction, and aristocracy!" The last tense words of a renowned New York choreographer before the curtain rises, opening his last ballet? Almost. Helen McGehee, visiting instructor at the Harvard Summer Dance program and former soloist with the Martha Graham Dance Company, preps her students before they perform a piece from her own repertory. But these students are Summer School students, and the stage is a second floor studio in Agassiz...
...piece follows the Graham technique. Two dancers stand on stage, bodies rigid, hands clasped around their waists, expressions stony. One faces two high-backed chairs, back to back, seating two onlooking dancers. The other faces an empty wooden stocks, a dancer behind. The music begins, slow at first but full of potent emotion. Their bodies become expressions of the music...