Word: lincolnization
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Dates: during 1960-1969
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...there was the inevitable round of tasteless gossip and sick jokes. "Do you know what Smith said to Rusk at the altar?" runs one gibe. " 'Awright, now stand down, honkey!'" In New York, Black Power Agitator Lincoln Lynch denounced Rusk as a "subconscious racist" and added, only half in jest: "I wonder to what lengths Dean Rusk has to go in order to gain support for his and Johnson's war in Viet Nam." Studs Terkel, a Chicago writer and radio commentator, had nothing against the wedding, but as an Administration detractor could not resist a crack...
...whose skin was believed to be black-is ac cursed throughout time: "A servant of servants shall he be unto his brethren." The 18th century Scottish philosopher David Hume suspected "Negroes to be naturally inferior to the whites." Several U.S. Presidents, among them Jefferson and Lincoln, shared the same opinion, at least for a while. As long as the two races lived together, said Lincoln in 1858, "there must be the position of superior and inferior, and I as much as any other man am in favor of having the superior position assigned to the white race." Washington unreflectively accepted...
Opera companies of all sizes and ages chattered to life across the country last week like firecrackers on a string. Manhattan's two companies faced off across Lincoln Center Plaza with year-old productions: the Metropolitan with its comfy,old-fashioned Traviata and the New York City Opera with Beni Montresor's fairy-tale setting of The Magic Flute. In neither case was the performance on much more than a ho-hum level; in fact, Spanish Soprano Montserrat Caballe's first Met Violetta seemed an almost deliberate throwback to the bad old days when singers were meant...
Most film festivals give prizes-which is why they seem to resemble the kind of raucous television M.C. who calls more attention to himself than to those he introduces. Lincoln Center's New York Film Festival, which opened last week, has always been more seemly than its European counterparts, because it gives no awards; thus there are never any egos jockeying backstage for the coveted Silver Palm or Golden Frog...
This year that policy seems wiser than ever. In the past, Lincoln Center featured new films by the creative experimenters of the art-house circuit-Bufiuel, Resnais, Kurosawa, Losey. The 1967 scene offers an old and a new Godard (Les Carabiniers, Made in U.S.A.) and a sluggish Rossellini (The Rise of Louis XIV), but otherwise gives itself over to cinematic unknowns. Unfortunately, few entries rise above mediocrity...