Word: hamburger
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Dates: during 1960-1969
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...Nazi era, left-wing Erlangen University students staged a burning of Springer publications. A group of liberal writers declared they will never again write for a Springer paper and urged their publishers to withhold advertising from Springer publications. When Springer went to give a speech at the Hamburg Overseas Club recently, he had to slip in a side door while five squads of riot police protected him from angry pickets, whose banners declared: "Never before in any land at any time has so much power and so little wisdom been in one pair of hands." In the next few weeks...
...makes an inviting target. With eight newspapers and six magazines, he is West Germany's biggest publisher. He controls 31% of the circulation of all of Germany's daily newspapers, a percentage few other Western publishers come close to matching.* His rather sensational Bild Zeitung, published in Hamburg with a Berlin edition, has a circulation of 4,446,000, largest of any paper on the Continent. His more thoughtful Die Welt (circ. 280,000) is one of Germany's most influential papers. Its Sunday edition, along with Springer's other paper, Bild am Sonntag, accounts...
Shortly before How I Won the War opened in Germany, Director Richard Lester attended preview screenings before student audiences in Munich, Berlin and Hamburg. Afterward, he debated the film on the stage with politicians and writers. The results, he remembers, were sometimes quite startling. "One politician began shouting that 'the film is an insult to my English comrades in arms who fought bravely against us, at which point the students in the audience began chanting 'Sieg Heil!' in unison." Such outbursts were the sweet sounds of success for Lester. "Getting these points of view...
Thus the San Francisco Opera last week gave Gunther Schuller's first op era. The Visitation, the kind of production it has always needed and never had. The Hamburg State Opera, which commissioned the work, performed it successfully last year (TIME, Oct. 21, 1966). Yet when the Hamburgers brought their production to New York City last summer, American audiences booed nearly as much as they applauded. Partly they were disappointed by its literal realism, which seemed at odds with Schuller's Kafka-inspired libretto and feverishly atonal score...
There were no boos in San Fran cisco last week. Producer Paul Hager toned down some of the explicit sex and sociology of Hamburg's version, pointed up some of the opera's philo sophical overtones, and allowed Schul ler to reinstate a subtler ending, which the Hamburgers had cut. These modifications, and the new stage design -plus the impassioned singing of Bari tone Simon Estes in the lead - gave the story of a Negro lynching a harrowing touch of surrealism...