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...line, paternalistic settlement houses, organized into USES (United South End Settlements), want the ghettoes broken up. USES "has contracted with the Boston Re-development Authority to handle the relocation of displaced families for it," says Janet Murray, a USES family counsellor. "The complicity is there. USES is encouraging the middle class to move back into the South End and renovate old town houses. The poor are being pressured to leave...

Author: By John Killilea, | Title: II. The South End: 'Puerto Rican Power!' | 11/16/1967 | See Source »

...Janet Murray refuses to follow the USES line. Three weeks ago, she presided over the founding of an exclusively-Spanish-speaking Mothers for Adequate Welfare (MAWS) chapter, which was formed because of the language difficulties encountered in the regular South End group. MAWS, whose Roxbury division helped spark the riots there last summer with a sit-in at Grove Hall, Roxbury's welfare office, is dedicated to keeping at least one segment of the poor strong and united. MAWS pressures welfare agencies to deal fairly with women whose husbands have deserted them...

Author: By John Killilea, | Title: II. The South End: 'Puerto Rican Power!' | 11/16/1967 | See Source »

HALLMARK HALL OF FAME (NBC, 7:30-9 p.m.). Based on John Hersey's novel and Paul Osborne's Broadway play, this TV edition of A Bell for Adano features John Forsythe, Kathleen Widdoes and Murray Hamilton...

Author: /time Magazine | Title: Television: Nov. 10, 1967 | 11/10/1967 | See Source »

...into the little Every-men of Beckett. In his American debut, British Playwright Tom Stoppard, 30, offers an agile, witty play that snaps with verbal acrobatics and precisely choreographed dances of the mind, while coming heartbeat close to the pity and terror of mortality. In the title roles, Brian Murray and John Wood are phenomenal, and Derek Goldby's direction has tensile strength...

Author: /time Magazine | Title: Television: Nov. 10, 1967 | 11/10/1967 | See Source »

Director Michael Murray doesn't quite do justice to Awake and Sing, because he treats it overly like a period piece, pacing it gingerly and throwing varying degrees of strong accents into the mouths of his actors. The production abounds with significant pauses, which as a consequence lose all significance...

Author: By James Lardner, | Title: Awake and Sing | 11/4/1967 | See Source »

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