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...wife of the New York Senator, "that magic and loveliness I used to adore. More than ever, the people are not lovely, or gentle, or likely to say 'excuse me.' It's as though New York no longer feels loved." While New Yorkers may feel a throb for their city, they do not tend to it or cherish it, as the citizens of some other cities do theirs...

Author: /time Magazine | Title: JOHN LINDSAY'S TEN PLAGUES | 11/1/1968 | See Source »

...wonder the hordes of Wall Street throb over Francine Gottfried [Sept. 27]. She is an obvious drug to their subconscious qualms about depression. With their incessant search for affluence they're bound to discover that Mother Nature owns a few shares...

Author: /time Magazine | Title: Letters: Oct. 11, 1968 | 10/11/1968 | See Source »

Such quaint language endures in the movies from the '30s and '40s that unreel on television with the steady persistence of an arterial throb. Ranging back to the baby talkies, late-show films represent what Jean Cocteau called the "petrified fountain of thought." Ghosts of America's past, they evoke the naivete, exuberance-and problems of a simpler society. To middle-aged Americans, they can also be embarrassments with commercials. Did the public truly love those painful Blondie pictures so much that Hollywood made 28 of them? How did Turhan Bey ever become a star? Did anyone...

Author: /time Magazine | Title: Essay: THE LATE SHOW AS HISTORY | 6/28/1968 | See Source »

...enter the dark, friendly reception, choose a girl, and take her outside to drink and dance in the warm Haitian night air. Time passes, the rum flows, voodoo drums throb in the distance. Then two men from Westport, Conn., come outside. They flaunt their bellies in gaudy Hawaiian shirts and walk heavily, because they are already drunk. Each sits down with his whore...

Author: By Nicholas Gagarin, | Title: A View of Haiti | 3/9/1968 | See Source »

...group's real virtuosity is collective rather than individual. Sorting like musical pack rats through a patchwork of influences, they piece together witty collages that throb with asymmetrical rhythms and fierce intensity, yet never neglect an unashamed capacity for lyricism. "We are playing jazz that represents our particular generation, time of life and background," says Burton. "The people who have been the major influences for the past five to ten years are now getting to be over 40. We're less traditional than they are, but we're not out to destroy traditions like some avant-garde...

Author: /time Magazine | Title: Jazz: Liberated Spirits | 3/1/1968 | See Source »

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