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...critics unanimously panned him because "I was not ferocious enough, and I did not rave and rant." Realizing this was his first critical and commercial flop in 13 years, he decided toward the end of the play's brief run to act the role as the critics wanted. He "tore through the performance like a madman, and hammed the part within an inch of burlesque," as any adolescent could have easily done. The result was that the audience loved it. "But the performance was no good," Huston said. "My subdued conception...is far superior to giving the role the works...

Author: By Caldwell Titcomb, | Title: Strasberg Analyzes Acting and Audiences | 7/18/1957 | See Source »

...violence stems partly from the manner of Haiti's birth. While revolution tore France in 1791, half a million black slaves rose against France's colonial rule. In two months they massacred more than 2,000 whites, razed more than 1,000 plantations. Haiti never recovered. The world's richest colony before the revolution, it is now a poorhouse. Only 23,470 Haitians out of 3,500,000 engage in middle-class occupations. As the economy strangled, politics turned into a business venture, with revolution the key to the treasury...

Author: /time Magazine | Title: HAITI: The Sad Land | 7/1/1957 | See Source »

...working-class district of Bab el Oued and members of the locally recruited Territorial army-they surged through Algiers streets toward the Casbah. Coolly checking window stickers of parked cars, they passed over those with European names, overturned and burned cars bearing Moslem names. They smashed Moslem shops, tore up the seats and ripped down the screen in a Moslem cinema, burned open market stalls. One crowd of boys and girls invaded a butcher's shop, and with a meathook taken from it, hacked a Moslem to death in a nearby street...

Author: /time Magazine | Title: ALGERIA: Dance of Death | 6/24/1957 | See Source »

...Until it tore our voices to Tatters...

Author: /time Magazine | Title: Music: Up from the Barbershop | 6/17/1957 | See Source »

...Dallas kids yelled as the fat man stumped onstage, flashed an 88-key grin and tore into the piano with both hands, like a starving man wolfing a platter of chicken. The kids shrilled an octave higher as the performer knocked out a couple of bars introduction, then quieted down to mere noise as he ducked his head shyly, leaned over to the mike and opened a satchel-sized mouth: "Ah'm walkin' "- each word a hard, booming beat-"Yes indeed, Ah'm talkin'." A diamond-heavy right hand jackhammered treble chords between beats; three saxes...

Author: /time Magazine | Title: Music: Fats on Fire | 6/10/1957 | See Source »

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