Word: interest
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Dates: during 1970-1979
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...back to a time when we thought there could be American solutions to every problem." The U.S., he counseled, "must accept the fact that other societies will manage change and build new institutions in patterns that may be different from our own [an obvious allusion to Iran] . . . Our national interest is not in [all countries] becoming like us. It is that they be free of domination by others...
...very close. Withdrawal means, in most cases, selling at a distress price to a Japanese or European firm whose attitude toward apartheid is apt to be worse, not better. The money thus realized must be invested for several years in South African government securities paying an interest rate about half that of the market. In other words, one must pay a ransom of some 40% of the sale price to the government that is the very cause...
...only economic self-interest that dictates Harvard's position on divestiture and South Africa, but it is the misreading of history and the (we trust) mistaken belief that the kinds of brutality and exploitation that succeeded in the past will continue to be effective in keeping the University and the corporate structure it serves in power. For Harvard, consistency does not demand divestiture and support of the non-white majority in South Africa. This would be a better and more humane place if it did. Ruth Hubbard Professor of Biology Richard C. Lewontin Professor of Biology
...unusual to see a jazz saxophonist double on flute or clarinet, but Joseph Jarman works beside a rack of no fewer than eleven woodwind instruments, ranging from a wooden flute and tiny sopranino saxophone to a bass clarinet. One hallmark of AACM artists is a fascination with interesting and unusual juxtapositions of instruments, and in the AEC this interest is taken to an extreme. What is even more striking than the sheer multiplicity of instruments is the sensitivity and virtuosity of their use. An artistic peak of last Friday evening's performance was duet between Jarman on flute and Mitchell...
WITH COVER STORIES in both Downbeat and Musician and a new album (NiceGuys) on ECM--the label that has successfully promoted the likes of Keith Jarrett and Pat Methaney--the AEC is riding a new crest of public interest and acceptance. But as Lester Bowie comments, there has always been a receptive audience for the group's work, and the size of that audience is of no great consequence. The music which so excites critics today is essentially unchanged since the days when the Art Ensemble played for groups of ten or fifteen devotees back in Chicago. Through years...