Word: suspicion
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Dates: during 1990-1999
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...what happened to their ancestors. I don't for a minute say that if you're black with kinky hair you have the same chance as a blue-eyed blond in America. But racial quotas and set-asides are tearing us apart. They breed white resentment and the suspicion of black inferiority, and they haven't kept pace with our multiethnic society." Connerly, who is of African, French, Irish and Choctaw descent, is married to an Irish-American woman; their son is married to a Vietnamese American. "What racial box on the university admission form is their child supposed...
...player, one who cut his teeth with the likes of Ma Rainey and Cab Calloway. Doc 's 91. The tunes here are standards, many of them--like Black and Blue--part of Louis Armstrong's repertoire; all are played in a straight-ahead New Orleans style. But one's suspicion that the result might be dutiful and dull, the musical equivalent of a five-part series in the New York Times on wage stagnation, proves groundless. Doc Cheatham & Nicholas Payton rescues its idiom from both the dead end of strict revivalism and the cornier precincts of Dixieland, reinvesting it with...
...Maxine Waters, who was among the first to take up Webb's reporting as a political cause, has reaffirmed her belief that the basic story is sound and has vowed to continue pressing for congressional hearings. Says Los Angeles city councilman Mark Ridley-Thomas: "There is a lot of suspicion that there was some truth associated with the claims in the story. Frankly, those suspicions will not go away...
...teeth with the likes of Ma Rainey and Cab Calloway. Doc ?s 91. The tunes here, writes TIME?s Bruce Handy, are standards, many of them -- like Black and Blue -- part of Louis Armstrong?s repertoire; all are played in a straight-ahead New Orleans style. But one?s suspicion that the result might be dutiful and dull, the musical equivalent of a five-part series in the New York Times on wage stagnation, proves groundless. ?Doc Cheatham & Nicholas Payton? rescues its idiom from both the dead end of strict revivalism and the cornier precincts of Dixieland, reinvesting it with...
Like it or not, by 1965 Manhattan was the center of Western contemporary art in terms of collecting power, museum clout, promotional and dealing skills and, not least, the amount of talent stacked up in it. The old, genteel American suspicion of the new had vanished. The circuit with the worship of newness in the larger culture had closed. The first beneficiary of this situation was Pop Art, the first wholly accessible style of international Modernism--an art about consumption that sat up and begged to be consumed. Its epitome was Roy Lichtenstein, who emerged in the '60s with...