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...police deaths on duty, are the result of becoming caught in a family dispute. Risks aside, answering domestic-disturbance calls is the bane of policemen everywhere. "We end it for an hour or two and do a lot of paper work," says Officer Lawrence Santos of Harlem's 25th Precinct. To a frightened woman, though, even a reluctant policeman offers more hope than an insensitive one. Sergeant Louis Mancuso of Manhattan's Ninth Precinct, for example, does not think arrests are always the best solution. He believes there are often extenuating circumstances, observing after hearing about one brutal assault, "Maybe...

Author: /time Magazine | Title: Wife Beating: The Silent Crime | 9/5/1983 | See Source »

...early 30s, with no experience whatsoever, Houseman found himself in Harlem, directing the first production of the Gertrude Stein and Virgil Thomson opera Four Saints in Three Acts. Not long afterward he became Orson Welles' principal collaborator in the renowned and innovative Mercury Theater. In 1955, when this third volume of his memoirs resumes, Houseman is about to rescue the American Shakespeare Festival at Stratford, Conn., after its wobbly first year. He has just finished a stint as a movie producer (Julius Caesar with Marlon Brando; Lust for Life with Kirk Douglas). He goes on to direct some...

Author: /time Magazine | Title: Books: Act III | 8/15/1983 | See Source »

...problem arises, he says, not only in making films, but also in promoting them. A member of the New York-based Black Filmmaker Foundation, he describes the strong reaction to the group's screening of the controversial film. "From Harlem to Harvard," by Marco Williams. Many Blacks who saw the movie criticized the unsentimental portrait of a young Black man from Harlem who does not do well at Harvard and eventually leaves school. While the film clearly exposes some of the pressures on Blacks at Harvard, says Hudlin, many Black viewers, especially those who have "made it," were appalled, "There...

Author: By Kathleen I. Kouril, | Title: Making Black American Films | 6/9/1983 | See Source »

DIED. James Van Der Zee, 96, celebrated black photographer who recorded the faces and events of New York City's Harlem for more than five decades, but achieved wider recognition only in 1969, after a Metropolitan Museum of Art exhibit, "Harlem on My Mind"; of a heart attack; in Washington, D.C. Van Der Zee became a photographer in Harlem during World War I, shooting weddings, funerals and back-to-Africa parades as well as thousands of carefully composed portraits. Sadly, his "discovery" by the public and critics coincided with severe financial distress: evicted from his studio only weeks later...

Author: /time Magazine | Title: Milestones: May 30, 1983 | 5/30/1983 | See Source »

...befriended them, treated them as adults; it was not rare to find Allard Lowenstein, hours after a speech at a university, squatting Indian-style on the floor of a dormitory common room discussing, in an "uncannily lucid manner, what must be done about Rhodesia or Vietnam or Mississippi or Harlem." And young people identified with his "casual, rumpled eloquence" and followed him--to Mississippi in the Freedom Summer of 1963 and to New England to knock on doors for Eugene McCarthy...

Author: By Jean E. Engelmayer, | Title: The Pied Piper of Liberalism | 5/20/1983 | See Source »

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