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...like to get the ball in close to my body and clamp on it"-one hand on top of the ball, the other underneath. Where does Jim prefer the pass to reach him? "Anywhere but low. I don't like to catch it down low, because my face mask hinders me." How does Seymour handle the defensive man guarding him? "The first thing I do is go out and test him. If he isn't going to back up, I run right by him and say hello. But if he does, I'll cut the pattern short...

Author: /time Magazine | Title: College Football: Babes in Wonderland | 10/28/1966 | See Source »

Madness is really what the book is all about: the madness that French Poet Stephane Mallarme called "the extreme Occident of desires," and that is merely the mask for a ravening death wish. The setting is a nameless, flourishing north European port. The narrator...

Author: /time Magazine | Title: Books: Abuses of Affluence | 9/23/1966 | See Source »

...While they proclaimed the era "il seicento de Cristina" she peeked and listened through a window concealed in the ceiling of her painting gallery. And when she died at the age of 61, Pope Innocent XI broke precedent by having her buried in a Vatican vault. As her death mask, disinterred last year, revealed, she remained cold, proud and regal...

Author: /time Magazine | Title: Exhibitions,: Bachelor Queen | 8/5/1966 | See Source »

Although Eisner's plotting and characterization (he specialized in lush villainesses) made The Spirit an early comic book excursion into Terry and the Pirates-type-exoticism, The Spirit himself was a genial, middle-class fellow in a baggy blue suit and a Lone Ranger mask: hardly one of your invincible superheroes. Perhaps the magnetic appeal of Denny Colt resulted from Eisner's combination of a wholesome American hero and a sinister world of shadowy evil. In any case, Eisner and his Spirit were a tremendous influence on comic strip artists of the next generation...

Author: By Tim Hunter, | Title: Return of the Spirit | 7/26/1966 | See Source »

...bury it. Indeed, in the two and a half millenniums since Aeschylus, the number of dramatic geniuses could be counted on one and a half hands. The theater does not live on its masterpieces but between them. Man created the theater in his own image, and it wears two masks and a thousand faces. The mask of tragedy says weep-and bear it. The mask of comedy says grin-and bear it. The theater is witness and partner to man's endurance. Tawdry or frivolous, gallant, polemical or profound, the theater is the place where man speaks...

Author: /time Magazine | Title: Essay: THE MODERN THEATER OR, THE WORLD AS A METAPHOR OF DREAD | 7/8/1966 | See Source »

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