Word: partings
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Dates: during 1960-1969
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...life he and the police played an elaborate and almost stylized game. Whatever country he was in, some police, secret or otherwise, were keeping a wary eye on him. They were sure he was up to no good, but their problem was to catch him at it. For his part, the prince treated the police alternately with indifference and insouciance. Fortunately for the prince, they were mostly inept, often irritating, but sometimes diverting. There was one glorious day when he conned one of the Czar's gumshoes into carrying his luggage. The rules of the game were more urbane...
...catchy and promising phrase "black capitalism" became part of the language when Richard Nixon promised during his election campaign that his Administration would step up loans and other aid for Negroes to start their own businesses. As Nixon put it, the Government should act decisively to help Negroes gain their fair "piece of the action." The rather general idea that Negroes should lift themselves up through business ownership, as many other ethnic groups had done in the U.S., inspired hope and some votes among people of all races. "To the extent that programs of 'black capitalism' are successful...
Bertex has since begun advertising in underground newspapers and the Saturday Review. The shirts will continue to be sold exclusively by mail order, Kaplan said. "The [Harvard] Coop wanted no part of the business and threw me out on my ear," he said...
...respect for the conventional limits of stage and theater. All the world is a prop to him, and there is always the suspicion that when, as he does in Job, he brings a telephone booth or a Coke machine on stage, it is there more as part of his continuing practical joke on reality than for reasons specific to the play. If you're a sucker for an amusement park, it's worth the price of admission to Job just to see the machines and lights...
Many of the performances last night came within hailing distance of fully exploiting the resources this highly schematic text provides. Paul Schmidt as Job is the closest to being at ease with his part. His job is subdued, as incorporeal and introspective as any Job could be. Something must be done, however, to rescue his lines from the engulfing roar of the turning platform to which he is pinioned in the second act. Even if Mayer has chosen to mute Job--as he muted Christ--and give a raucous verbosity to his tormentors, there is no excuse for throwing away...