Word: 20s
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Notre Dame's proprietary alumni, including many people who have never been to Indiana, regard victory as the minimum goal. Probably this traces back to Rockne's "Rockette" shifts and one-on-one blocking schemes that made every play of the '20s a potential touchdown. To Irish fans, it seems a reasonable expectation. Winning too much in the '40s, Leahy was broken in the '50s by losing at all. After eleven storied years Parseghian quit in 1974, officially because his blood pressure was zooming, ostensibly because the University of Southern California came from 24 points behind to beat Notre Dame...
...comic essayist never did produce the serious work he wanted to, and he wasted too much time in Hollywood, playing small parts in smaller movies. But seated on the aisle during the '20s and '30s, as drama critic of Life, the humor magazine, and later The New Yorker, Robert Benchley was in his essential elements of earth, air and firewater. The boozy, bemused uncle of the theater sees a parade of greats. He applauds Jimmy Durante, discovers Bob Hope and Groucho Marx, and collects parodies of a Cole Porter lyric: "Night and day under the bark of me/ There...
...people who had any thing to do with an invention. It made it possible to put us all in tin cans, like sardines. We could have been bad actors, it didn't matter. It was the fact of volume . . . you were just shipped everywhere." Louise Brooks, the '20s star who first retired from films in 1931 at the age of 25, recalls everything and glamourizes nothing: "They keep talking now about deterioration and how the films are lost. They always forget that the big way they were lost was because the studios themselves had them burned up and melted down...
...because I was doing the opposite." Yet most who meet Botero are struck by his huge charm and gregarious personality. He trained in Europe in the 1950s, and never became part of the abstract or conceptual art movements, instead sticking to the voluminous figurative style he formed in his 20s. Botero says he first became fascinated with "bolometric" shapes while living in Florence in 1953, inspired by Old Masters like Giotto and Botticelli: "I saw that volume gives a sensuality to painting. People say, 'When are you going to do something different?' I say, maybe never. The day I change...
...folks, who raised me--they didn't want to hear about it. That's because my father had left our family to become a prizefighter in New York and later an actor. I was never part of his family really, and it wasn't until I was in my 20s that I had a relationship with him. He played one of the Nubian slaves in a version of Caesar and Cleopatra, that sort of thing. In high school once, I saw a picture of my father in Look magazine, performing in a play by Lillian Smith called Strange Fruit...