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Next day, in the whitewashed courthouse, Klansman Eugene Thomas, 43, one of three men charged with murdering Detroit Housewife Viola Liuzzo near Selma, faced a jury that included eight Negroes. It was the first racially mixed criminal jury in local history, the result of a federal court order that Lowndes County, which is 84% Negro, include a reasonable number of Negroes on its venire lists. But the Negroes were carefully screened, and turned out to be, in Flowers' bitter words, "nothing more than Uncle Toms." Despite impressive circumstantial evidence -an FBI ballistics expert testified that the bullet removed from...

Author: /time Magazine | Title: Alabama: A Whitewashed Court | 10/7/1966 | See Source »

...orchestra, is very limited. These pieces are among their chief showcases. Lothar Koch plays the oboe with spirit in the early, conventional Mozart quartet. Karl Leister is oddly restrained and diffident in the clarinet quintet, and is often overshadowed by the other players, especially Siegbert Ueberschaer's viola. All the performers are with the Berlin Philharmonic Orchestra...

Author: /time Magazine | Title: Television: Sep. 23, 1966 | 9/23/1966 | See Source »

LOOK UP AND LIVE (CBS, 10:30-11 a.m.). "Games of God"-Part 6. Viola Spolin, creator of Chicago's Game Theater, conducts a new form of theater in which the audience, rather than players, participates...

Author: /time Magazine | Title: Television: Aug. 19, 1966 | 8/19/1966 | See Source »

...thumb - looks like a pipsqueak. Yet its sweet warblings, wistful twitters and charming coos work such a Pied Piper spell over modern audiences that the recorder has become the fastest-rising instrument in the U.S. With more amateurs taking up the recorder than the violin, cello, viola and bass combined, the number of players has climbed from 100,000 in 1955 to 750,000 last year. The American Recorder Society now boasts 53 chapters in the U.S. and Canada, as well as a learned quarterly, The American Recorder. Fo cal point for much of the interest is on campus, where...

Author: /time Magazine | Title: Instruments: Pipe with a Pedigree | 7/15/1966 | See Source »

John Cunningham's Duke is clear but tepid. Adolph Caesar brings a rich voice to the Priest, but his make-believe senility is false. Stephen Pearlman's Antonio exhibits acrocious diction and no comprehension. And how could the director allow him to pass right by Viola-Cesario when exiting in pursuit of the look-alike Sebastian without Antonio's batting an eye? The suspension of disbelief can stretch only...

Author: By Caldwell Titcomb, | Title: STRATFORD SHAKESPEARE FESTIVAL: II | 7/8/1966 | See Source »

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