Word: prints
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Dates: during 1950-1959
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Ironically, Rushmore was one of Roy Cohn's earliest boosters, when Cohn was an assistant U.S. attorney in Manhattan. He had praised Cohn in print and introduced him to Hearst's high priest of antiCommunism, Columnist George Sokolsky, who helped Cohn get his job with Senator Joe McCarthy. But the friendship ended when Rushmore also went to Washington for a stint as a special McCarthy committee investigator. Riled by Cohn's arrogance, Rushmore left the committee...
Last June Rushmore teed off in print in the Journal-American against Cohn and Schine, called them "self-seeking and publicity-grabbing." Rushmore's attack got him a warning from his city editor "to keep personal opinions out of the paper...
...most notable fighters for press independence went the Mergenthaler Awards, Latin America's equivalent of the Pulitzer Prizes. Among the winners: Editor Jorge Mantilla of Ecuador's El Comercio, who won the $500 prize for "work on behalf of press freedom" after he refused to print a government communique in his paper and was closed down by the police; and Carlos Lacerda, fiery publisher of Brazil's Tribuna da Imprensa (TiME. Aug. 16), for his crusading editorials against government corruption. Said Lacerda: "There is one lesson we learn from events in Brazil. [It is the] growing responsibility...
...York Times, which has no trouble printing "All the News That's Fit to Print," had considerable trouble last week deciding what nudes are fit to print. When the producers of the Broadway comedy, Reclining Figure, tried to place an ad in the Times illustrated with a line drawing of a reclining nude, a staffer in the ad department said no. Other New York dailies ran the ad as submitted, but in the Times the nude was decorously fitted with a brassiere. At week's end, after taking the matter "under review," the Times allowed...
...very typical of Taubes that his favorite picture, the only print in his tiny, book-lined study, is an etching by Brueghel which pictures the artist and an onlooker. On he artist's face is all the agony and triumph of creation, while the insipid expression of the onlooker reflects only passive, exploitative enjoyment. Never content with passivity, Taubes is always he supremely ambitions artist...