Word: mr
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Dates: during 1960-1969
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...building plans on its own, if only because Faculty priorities are likely to value them less elegantly than Radcliffe would like. Ultimately, though, Radcliffe would be better off financially within the corporation than outside it, despite the Puseyian adage that tubs must float on their own bottoms. To win Mr. Pusey's approval for coed housing, Radcliffe will have to merge fully into Harvard College. Some sort of closer affiliation with the "University" would not be sufficient. The tubs then would share bottoms, to Radcliffe's financial advantage...
...Mr. Sinatra's loss is our gain. I am so glad I am living during this Mia Farrow era. She not only has talent beyond words, but also beauty, intellect, enchantment and charm. Happiness...
...match her predecessors'. Most of the other essentials remain the same. Sleazy customers steal in on little cad feet; for $6.50 an hour Charity hustles them around the dancehall floor-and sometimes into bed. A born romantic-hence the heart tattooed on her arm-Charity continually falls for Mr. Wrong. A leeching gigolo gloms her purse; a narcissistic movie star (Ricardo Montalban) invites her up to his apartment and forces her to be a voyeuse while he makes love to his mistress. A neurotic actuary (John McMartin) asks her to marry him-then turns out to be a zero...
...Music," as Mr. Kirchner said, "is being lobotomized by cultural stupidity." America, with her genius for suffocating within immense borders, has produced very little great music because she strains so furiously to produce it. Now that her artists have finally ceased rummaging through European dustbins, they find themselves in an unnaturally in-hospitable culture. Our leaders are hostile, our people consumptive, our arts enslaved. President Nixon's musical tastes range from a memorable arrangement of America the Beautiful for forty oil drums, to the Inaugural performance of All We Like Sheep by that otiose organ of musical dyspepsia, the Mormon...
...quality of integrity. "Music," as Roger Sessions remarked in his opening lecture, "is to be judged on its own merits, however slowly they reveal themselves. . . . The criteria is authenticity and immediacy in regard to experience." Some way out of our present musical somnambula must be found. "The world," feels Mr. Kirchner, "needs shock treatment; this is the role of the avant-garde. It is sacrificial, self-immolating." The purpose of such men as John Cage and Pierre Boulez is to inter the paralyzing reputations of the masters, especially the twentieth-century masters who have become classics and therefore dead issues...