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...march cannot get off Commonwealth Avenue. Riot police block the side-streets. The Irish security man for the Fred Hampton Contingents is "pissed off" at the police, but thinks the change of route was necessary, Indeed you must pretend to ignore the police--but do all they demand. There is a tacit agreement. Don't make a fuss and there will be no split craniums, Quiver...

Author: By Edmond P.V. Horsey, | Title: Under A Glumping Sky | 2/4/1975 | See Source »

...just have to get away from it all. Lying under a palm tree all day with no cousins borrowing money, no phone ringing with bad news, and no Wall Street Journal every day to tell you how badly your stocks are doing, you can act like royalty and just pretend for a week...

Author: /time Magazine | Title: Modern Living: Doom Boom | 2/3/1975 | See Source »

...would be the grossest distortion to pretend that editorial cartoonists are all Goyas in a hurry. Nothing inspires bromides like a deadline. Artists against the clock have too often relied on labels and fatigued metaphors to make their point. Back in 1925, The New Yorker lampooned the journeyman cartoonist with his crayoned clichés: the literalized Sea of Public Indignation; the bearded Radical; the masked thief with his tag of Crime Wave; the debt-ridden Commuter...

Author: /time Magazine | Title: Time Essay: Editorial Cartoons: Capturing the Essence | 2/3/1975 | See Source »

Granted, all these are difficult tasks, which some would claim lie outside the realm of journalism. We don't expect certainty from sociologists looking backwards, much less journalists trying to augur the future. Notwithstanding, the Editors pretend to even more exaggerated heights of hortatory hyperbole, theorizing about "journalistic counterpoint," and dreaming of historians of the twenty-first century leafing through yellowing newsprint searching for these poignant vignettes that will crystallize the sixties and seventies...

Author: By Ta-kuang Chang, | Title: The Boys Off The Bus | 1/24/1975 | See Source »

When a cast is racially integrated, it has been the custom of audiences to pretend that nothing has happened, or to infer that the millennium has arrived. Nonsense. A mixture of black and white can sometimes disturb the texture of a play, as in Odyssey. Or it can enrich the work, as it does in Pippin. In Of Mice and Men, it grants the play a fresh resonance. The interdependence of George and Lennie is far more poignant and tragic than in the original. Indeed, it is doubtful whether the play would have been producible in the old style...

Author: /time Magazine | Title: The Theater: Brute Strength | 12/30/1974 | See Source »

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