Word: transcendency
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Dates: during 1970-1979
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...that the spirit of the play has been violated. As a slice-of-life playwright, Bullins carves out zesty evocations of drunken parties, card-playing cronies, the sudden sensual thrust and parry of the sexes. When he can carve out the palpitating hearts of blacks who epitomize and yet transcend blackness, he will have written the play he is so promisingly aiming...
...behind Nixon!--are looking for material and talent to carry the Cabaret through its initial Spring season. Next weekend will have a musical retrospective with piano and clarinet on the work of Cole Porter. Between shows there will be music and, if a way is found to transcend Currier House's nouveau-brick decor, atmosphere. The Cabaret hopes to support itself by its cooking--the preliminary menu includes hot and cold drinks, chocolate mousse, baklava, eclairs and pastries. With no admission charge, only the most miserly socialite could begrudge the measly fifty-cent food minimum...
...What is universal about Flip Wilson is not his humor but his blackness. He does not transcend blackness, he just works in it. Whoever you are and whatever your race, when he makes you laugh, it's because he is showing you something that you instinctively have and are instinctively keeping alive-that touch of blackness that forces you to triumph over a world that insults...
...reluctance of talented men of the party in office (in this case the Republicans) to commit themselves or participate in the new program. Some openings might be left for this desirable "cross-fertilization." Success would ultimately depend, of course, on a true spirit of national interest that would transcend old notions of party loyalty. Beneath some commendable skepticism about why Democrat John Connally joined Nixon's Cabinet is a realization that the country is in an age when party labels have lost a lot of meaning...
...good people--Kael (The New Yorker), Hatch (Nation), Kauffmann (New Republic), and Sarris (Village Voice)--each have an axe to grind, and make no bones about grinding it. Kael has a perversely radical culture-consciousness, loving most those films which, rooted to a trashy crowd-pleasing base, manage to transcend it. Simon is a classicist, and treats film with the same stern regard as theater; his occasional fault is literary pretension. Hatch and Kauffmann retain the social concern of the more serious '50's liberals, while Sarris's devotion to the Great God Cinema is at least more passionate...