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Willie the Lion Smith, 69, has been creating something for himself for more than half a century - and talking about it as fast as he could play it. With Fats Waller and James P. Johnson dead, he is the last of the great "stride style" pi anists who flourished in Harlem in the '20s and '30s. The style - so named be cause the left hand shuttles between low notes and midrange chords in an oompah pattern - draws its riches from ragtime, and it requires a "two-fisted tickler" to make it roll...

Author: /time Magazine | Title: Jazz: Still Roaring | 7/28/1967 | See Source »

...turn an isolated patch of Pacific coastline into the handsome Club de Pesca de Panama, which, with its own amphibious plane service and a 15-boat fleet, opened the world's greatest marlin grounds to thousands of delighted anglers; of a heart attack; at Pi...

Author: /time Magazine | Title: Milestones: May 5, 1967 | 5/5/1967 | See Source »

...particular ratchet toward which the slander has been directed. This is no ordinary ratchet, but rather the new, carefully selected, exquisitely sensitive, four-pronged, concert ratchet, lent to Mr. Avshalomov by the Harvard University Band. This honorable and delicate instrument may be cranked at angular velocities up to eight pi radians per second. The timbre may be changed by altering the sense of rotation. The possible effects of the ratchet range from single thwacks to pulsating rolls and evenly sustained buzzing. Such awesome versatility is hardly common to "a dilapidated Fourth-of-July noisemaker...

Author: NO WRITER ATTRIBUTED | Title: NO NOISEMAKER | 3/11/1967 | See Source »

Shanker made his witty and occasionally fired-up speech to a WGBH television conference on collective bargaining between teachers and school administrations. The meeting was sponsored by the Harvard Chapter of Pi Lambda Theta and the Harvard Graduate School of Education...

Author: By Joel R. Kramer, | Title: UFT Head Sees More Teacher Power | 1/16/1967 | See Source »

Like Venezuelan Sculptress Marisol, whose primitive cubical, often satirical sculptures are a rage in pop circles, Botero depicts gentle impossibilities. He balloons his figures to look like anthropomorphic Latin American pottery. His subjects turn into jugs with ears, stylized piñatas bursting with human presence. With forceful immediacy, as if cartooning from a reproduction of a Renaissance fresco, his simplified images reflect the innocent expressionism of old Spanish colonial art and the sunlit geometries of its architecture...

Author: /time Magazine | Title: Painting: Pinatas in Oil | 12/30/1966 | See Source »

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