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ARIES-The Ram, Mar. 21-Apr. 19 (Governs the head) Mars, Pluto- rulers of the 1st house Positive: Enterprising, incisive, spontaneous Negative: Impatient, impetuous Career: Pioneer, architect, soldier

Author: /time Magazine | Title: Modern Living: Modern Living: Mar. 21, 1969 | 3/21/1969 | See Source »

...created man, so Shakespeare created Hamlet. He is an infinite mar vel. He is more than a part: he is an element, a realm, a cosmos. He is man in extremis, fencing desperately and gal lantly on the rim of an abyss called fate. To watch him is to be chilled and electrified by the destiny...

Author: /time Magazine | Title: Theater Abroad: Member of the Company | 2/28/1969 | See Source »

...Mar, Calif., 18 miles north of San Diego, is a pleasant and quiet resort town with a population of 3,000. But these days some of the lively types taking advantage of the small-town atmosphere and the balmy climate have more on their minds than surfing and suntans. They are magazine editors-many in their mid-20s-holding story conferences for two new magazines, Psychology Today and Careers Today. Says Nicolas H. Charney, 27, who founded both of them: "It's a very synergistic environment...

Author: /time Magazine | Title: The Press: Synergistic Scheme of Things | 2/14/1969 | See Source »

...assets, its earnings, its management or even what it does. Instead, the chartists divine the fu ture of a stock by poring over a dis play of its past performance. The zigs and zags may ignore the fundamental "facts," but more important, technicians argue, the charts reflect what the mar ket knows (or thinks it knows) about a company. One reason the chartists can be right: corporate insiders learn in ad vance about their company's earnings or new products and sometimes trade on that information in the market be fore the news gets around...

Author: /time Magazine | Title: Wall Street: The Masters of Zig and Zag | 2/14/1969 | See Source »

...occasion, and totally failing to conjure the forest or grotto scenes. The lighting too often cast a mustard pall on the actors, with the exceptions of Act IV scene i and Act V throughout. The direction failed to take to heart Debussy's insistence that an improper gesture would mar a scene; the actors' gestures were perilously close to woodenness, which is at odds with the demands of the text. The quality of the singing was thoroughly satisfying. Roger Lucas as Pelleas and Barbara Hocher as Melisande were the weakest; Ben Lyon as Golaud was very fine in an extremely...

Author: By Chris Rochester, | Title: Pelleas et Melisande | 2/8/1969 | See Source »

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