Word: edition
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Dates: during 1960-1969
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Wilkins was born in St. Louis, Missouri, in 1901, but moved to St. Paul, Minnesota when still a child. There, he says, "the problems of racial discrimination were not very great." After graduating from the University of Minnesota, he returned to Missouri to help edit the Kansas City Call, a Negro weekly newspaper. It was in Kansas City, with its "segregated schools, segregated movie theaters, segregated restaurants, practically segregated everything" that he "realized the meaning of racial discrimination." In 1931, Wilkins left the Call to become assistant secretary of the then struggling NAACP...
When Britain's Conservative Party Co-Chairman Iain Macleod resigned from the Cabinet last October, he went off to edit the liberal Tory Spectator, and for his nom de plume chose Chesterton's Quoodle. The name proved all too apt. Last week, in the wake of an embarrassing disclosure, many Tories were cursing Quoodle as a fink whose loose tongue was damaging Conservative chances in the forthcoming general election...
...transcript, for we had decided that this unique interview should be shared directly with the press of the world. We released the complete text to the entire Western press corps and, to the considerable surprise of old Moscow press hands, there was no effort by the Soviet authorities to edit or expurgate it. It was this text that was the basis of front-page stories around the world...
Nevertheless, Crisis is an exciting, new form of television journalism. In trying to film each phase of a story and then edit it down to a comprehensive plot, Drew has ingeniously applied the "group journalism" of magazine like Time and Newsweek to a new journalistic medium. One hopes that in the editing of film, Drew will be able to continue to present insights with a minimum of bias and oversimplification...
...play of light," said Rosso, and to let it play, he used a material most sculptors would shudder at-wax. Rosso built up his figures in clay first, cast them in bronze, or in plaster which he then coated with warm translucent wax thick enough to let him lightly edit the original version. Increasingly he left his sculptures as mere impressions, with fewer and fewer fine details, submerging behind veils of light. In one of his last busts, Madame X, barely more than a lopsided oval of wax, Rosso nearly dismisses the tactile world entirely. The mystery lady...