Word: raced
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Dates: during 1940-1949
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...midst of the storm, Jefferson refused the judge's conditions. Although "the college has even been maintained and operated exclusively for students of the white race," it would not accept the endowment, said its trustees, if it had to teach the superiority of Anglo-Saxon and Latin American races or bar Jewish students. After that the judge withdrew his offer. Jefferson seemed back where he found it. "The school is operating at a loss," said one of the trustees. "We plan to close ... at the end of the year, under present conditions...
...Pimlico Special, coming at the end of the season when all but the champions have raced themselves out of contention, is a far more important race than its purse value suggests. For 13 years it has played a leading role in the annual horse-of-the-year award, and it has sometimes resuited in a race of the year (such as War Admiral v. Seabiscuit in 1938).* Last week's renewal of the sporting Special-by invitation as usual, for $15,000 winner-take-all-brought together the two speed demons of 1949's two leading stables: Calumet...
...crowd, which seldom gets noisy until the last quarter-mile of a race, sensed that the climax would come early and set up a swelling roar. Then, suddenly, it was all over. With Capot saving ground on the rail, he nosed ahead on the turn. Coaltown tried but could not keep up. Down the backstretch Capot's lead lengthened to two lengths, then to four. Brooks hit Coaltown only once, got no response, and did not punish him needlessly...
Covering his 25th Kentucky Derby last spring, Hearstling Sportwriter Martene Windsor ("Bill") Corum gratified his readers by picking the race one-two-three-four. Hereafter they will have to depend on someone else for their forecasts. Easygoing, fireplug-shaped Columnist Corum was named last week to succeed the late Colonel Matt Winn (TIME, Oct. 17) as president of the American Turf Association and Churchill Downs, i.e.) impresario of the Derby...
Lost In the Stars (words by Maxwell Anderson; music by Kurt Weill; produced by the Playwrights' Company) refashions Alan Paton's moving story of South African race relations, Cry, the Beloved Country, into a kind of choral drama. It tells of an old Negro's search for his errant son, who has killed a great white champion of the Negro race, of the boy's repentance and death, and of the symbolic coming-together of the two stricken fathers...