Word: lincolnization
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Dates: during 1960-1969
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...housing). To make sure the funds go where they should, Brazil has agreed to a regular review of progress, faces a cutoff in the flow of funds if performance is not good. "This is a calculated strategy on which the odds look good," said U.S. Ambassador to Brazil Lincoln Gordon after the agreement was signed. "This time, for the first time, there is support-honest backing for a program from the President on down-and that is what will count...
...most ambitious effort in the U.S. to date has been Manhattan's Lincoln Center Repertory Theater, playing for the past year in a temporary Greenwich Village theater and scheduled to move into the Lincoln Center complex next fall. Last week the dream had all but ended. Director Robert Whitehead had been forced out of his job; Director Elia Kazan had followed suit and resigned; and Arthur Miller, the rep company's principal playwright, had given up his association with the theater...
Compounded Errors. What had happened? Critics doubted that the trouble was money. There had been deficits, but they were less than the deficits that had been expected and budgeted. Nor was the massive head-lopping merely a power struggle within Lincoln Center's family of music, dance, opera and theater. Guilty of some miserable productions, the repertory theater had been ultimately damned by its successes; the company that had been created to help revitalize the New York theater has succeeded only in imitating what is already there. News pictures of Miller and Kazan sweating out the "death watch...
Little Herbie Solomon was, every body said, a square. While the other saxophone players at Brooklyn's Abra ham Lincoln High School were trying to imitate the new bebop style of Charlie ("Bird") Parker. Herbie was still practicing to old Illinois Jacquet and Flip Phillips records. You're not with it, Herbie, they said, and refused to let him play with the school's dance band...
...meticulous care Albright takes (he once painted Lincoln's portrait on each penny in a painting), he is far from being a mere copyist. "Everything in the canvas is fighting," he points out of Poor Room, etc. "Some objects are falling, others are rising, others are spiraling in a kind of controlled chaos. I compose in motion. I wish to create tension and conflict." Nor, after the first shock has passed, are his models bereft of their own kind of grandeur. Decay, once faced, gradually loses its morbid horror. Albright seems more the dedicated diamond cutter who positions...