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...front of a pale green building on Honolulu's Kapiolani Boulevard one day last week, a band of ukuleles and a bass fiddle plunked out a rhythmic island tune. In the midday sun, languid, aloha-shirted islanders meandered back and forth along the sidewalk carrying their signs, pausing now and then for a swig of pineapple juice or to chat with a passerby. The occasion was neither a luau nor a festival, but the visible evidence of the first strike in more than 100 years of Hawaiian newspaper publishing history...

Author: /time Magazine | Title: Strikes: A Matter of Motive | 7/19/1963 | See Source »

...which Great Lavra stands, a procession of five ships unloaded 1,000 visitors. Jeeps and trucks carried the pilgrims,*who were led by King Paul of Greece, up the steep road to the monastery yard. The bells of other monasteries joined those of Great Lavra in a tolling, rhythmic counterpoint to the chanting of the monks...

Author: /time Magazine | Title: Orthodoxy: The State of the Faith | 7/5/1963 | See Source »

...Fidel Castro all right, and when he was not on Russia's TV last week, his music was. From every loudspeaker came the raucous, rhythmic tunes of Sloppy Joe's in Havana; no matter that the songs were from Batista's day; to the Slavs, it all sounded pretty much the same. Hotel ballrooms shook with newly discovered mambas; Cuban students with bongo drums did their best to drown out the sound of the 21-gun salute in Red Square...

Author: /time Magazine | Title: World: The Other Beard | 5/10/1963 | See Source »

...Swing. Jazz simply does not work unless it swings; and to swing, the beat must be constantly tugged and pushed across the familiar line of four-four balance until the real rhythmic message is felt more than heard. The time values involved are microscopic: big bands rarely manage to swing because the inner rhythms are blurred by imprecise ensemble playing; classical jazz cannot swing because the composer's notation is too rigid...

Author: /time Magazine | Title: Jazz: The Juilliard Blues | 4/19/1963 | See Source »

...hunt down a more satisfying freedom. Coleman and Guiffre both now play atonal jazz, and Miles Davis defected with his discovery of the "interlude," a four-or eight-bar figure laced into a song between phrases. Davis sometimes plays one dominant chord throughout a 16-bar interlude, making only rhythmic variations. Elvin Jones, the most richly inventive of the modern drummers, plays highly abstract polyrhythms that leave the old eight-to-the-bar style of jazz drumming far behind...

Author: /time Magazine | Title: Jazz: The Juilliard Blues | 4/19/1963 | See Source »

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