Word: mans
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Dates: during 1960-1969
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...code did not eliminate the phenomenon known as "command control." Looking back on his experience as a Marine legal officer during the Korean War, Boston Trial Lawyer Joseph Oteri describes the C.O.'s influence on military courts this way: "The word always filtered down that the Old Man wanted such and such to happen. And, miracle of miracles, it always did." Within this system, a career officer assigned as defense counsel often helps the miracle along by pleading his client guilty. "There is no such thing as a truly vigorous attempt to defend your client in the military," complains...
...Soprano. Offstage, Treigle is a tightly wound man with a gaunt face and the physique of a working bantamweight. His voice is deep, with a tough accent curiously compounded of New Orleans (where he lives) and Brooklyn (where he has never lived). "I started out as a boy soprano," he says. "I could outSills Beverly Sills, but then I turned into a bass. I dunno what kind of voice I got now. Call it a dramatic bass...
Treigle's great acting vitality, lithe movements and granitic voice make him supremely good at dramatizing evil. In Carlisle Floyd's Susannah he sang Reverend Blitch, a man of God who fell through lust into destruction; his Mephistopheles in Gounod's Faust is demon masquerading as man; to round off his demonic repertory, New York City Opera General Director Julius Rudel is toying with the idea of producing Berlioz's The Damnation of Faust (in which Treigle would play yet another Mephistopheles) and Busoni's Doktor Faust (in which Treigle would switch roles and appear...
Treigle is an intensely religious man. "I was raised as a Baptist," he says, "but my religion really is the Bible." He takes a moralistic view of his evil doings in opera: "What better sermon could there be than the destruction of Satan?" His wife approves for another reason. "He's so kind and gentle at home. That's probably because he gets all the meanness out of his system on the stage...
Baldwin to the contrary, great painters throughout the history of Western art have looked at the black man and mirrored him as beautiful. Not many, but some. Seeking them out, Author-Critic Alexander Eliot culled the great collections of Europe and the U.S. to assemble the remarkable gallery that TIME presents on the following pages. All of the pictures are white mirrors, since oil paint was never the Negro's traditional medium: the promise of black Rembrandts lay in other fields. But all of them reflect the unprejudiced eye that saw beauty could appear in any color...