Word: 57th
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Dates: during 1980-1989
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...country becomes a by-product of the activities of a casino, the job is likely to be ill- done." His comments were a reminder of the speculative frenzy of the Roaring Twenties, which led, soon enough, to the Great Crash of Oct. 28, 1929. Last week, as the 57th anniversary of that dire event rolled around, new voices raised similar cautions. Said Robert Reich, a lecturer in public policy at Harvard's John F. Kennedy School of Government: "In America, industry has become the plaything of finance." Banker Felix Rohatyn, a partner in the Manhattan investment firm of Lazard Freres...
...faster pace and a de-emphasis on Washington news in favor of lighter stories and features from around the country. The change helped boost the ratings but was decried by some as violating CBS's "hard-news" traditions. Promoted to the division's No. 2 slot, Stringer championed West 57th, a magazine show that drew fire from traditionalists for its jazzy style and choice of stories...
Colleagues praise Stringer as a talented producer and a bright, engaging man. He seems to have bridged the gap between CBS's Old Guard and younger staffers more eager for change. "Howard was the first choice of almost everyone I know," says Andrew Lack, executive producer of West 57th. "He will be good for morale." Says Washington Correspondent Phil Jones: "Stringer's a real newsman. We're all feeling good because we're convinced we're heading back to the CBS News of old." Accustomed to twelve-hour workdays, Stringer lives in Manhattan's Greenwich Village with his wife...
...Barbara Cartland romances. Yet TV, oddly, has taken a different tack of late. Summer series today are more likely to be of the serious sort, shows that would have little chance of surviving the ratings battle any other time of year. Thus two prime-time newsmagazines -- CBS's West 57th and NBC's 1986 -- have joined the networks' hot-weather schedules; both will presumably be back in storage by the fall...
...late-'50s portraits of Robert Rauschenberg, Paul Taylor and Norman Bluhm are, as portraiture, thin and perfunctory; for a quick check on what a first-rate American draftsman could do with the human face as a focus of inquisitorial attention, one could have done worse than visit West 57th Street after leaving the Whitney to catch the show of Ellsworth Kelly's portrait drawings at the Blum Helman Gallery. Perhaps only in America, where the cultural role of depictive drawing was so quashed and ghettoized by a quarter-century of "official" abstraction, could Katz be seen as a draftsman...