Word: sayed
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Dates: during 1960-1969
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...next!" Muhammad Ali, the man who popularized such gate-building theatrics when he was known as Cassius Clay, got in his licks, too. After the fight, the suspended Muslim minister said that until his appeal on a draft-evasion conviction is decided, "I don't want to say I'm formally retired. And they can't have a real champion until I do that or until I'm physically whipped." Amen...
...ultimate accolade to an artist's consistency-in any medium-is the suffix "esque" at the end of his name. To say a film is "Felliniesque," for example, is to suggest operatic and surrealistic fantasies, or the mixture of brio and disgust with which Fellini views society. "Godardesque" implies the nervous tics and mannerisms of an artist whose creative palsy can produce intriguing collages but never a totally complete vision. "Antonioniesque" suggests the world as a chessboard, full of malignant surfaces and doomed figures. "Pennesque," "Nicholsesque," "Kubrick-esque"-the labels refuse to stick. Yet the time...
...attempt by blacks to construct a distinctively black theology has a strong this-worldly existentialist cast. "The idea of heaven is irrelevant for black theology," says Cone, the author of a recent book called Black Theology & Black Power. "The Christian cannot waste time contemplating the next world, if there is a next." One participant in the session, Preston N. Williams of Boston University, explained: "The black man cannot divorce theology from social action. Whites say, 'That's not theology at all.' The real question is who is going to define the norms of theology." Some Negro churchmen...
This was the essence of Warren's activist philosophy. In a speech several weeks ago, he said: "I have heard a great many people say to me, 'Well, I agree with your opinions on these civil rights, all right, but don't you think you are going too fast?' Of course, the answer to that is, 'We haven't anything to say about how fast we go.' We go with the cases that come to us; and when they come to us with a question of human liberties involved in them, we either...
...trembling vocal style that somehow managed to combine womanly pathos and childish innocence. There were no singing lessons to mar her delivery, nor any acting lessons to ruin the uninhibited intensity of her stage presence. "She was so sweet," recalls Jack Haley, who played the Tin Man. "I would say, 'Well, Judy, if you ever become a star, please stay as sweet as you are,' and she would say, 'I don't know what could change me, Jack. Why would anything change...