Word: cameraman
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Dates: during 1980-1989
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Sometimes franchisers launch a company simply by making an old product better. In 1982 Ted Rice, a Kansas City TV cameraman, brought home a cinnamon roll he had bought from a vendor and asked his wife Joyce, a schoolteacher, if she could make a tastier one. After she came up with a delicious specimen topped with streusel and a thin layer of vanilla icing, they tried selling her rolls at state fairs and arts-and-crafts shows. When long lines started to form, they knew they had a hit. The Rices opened their first T.J. Cinnamons shop in Kansas City...
Meanwhile, her movers and shapers were working overtime to fix the Whitney magic in her music videos. The first video, You Give Good Love, tells the story of a romance with a cameraman -- and, more tellingly, with his adoring camera. In Saving All My Love, she is a beaming All-American girl shadowed by her secret lover's wife. In Greatest Love, Whitney dazzles in rehearsal rags and in a sequined evening gown that hangs elegantly from the world's creamiest shoulders. For How Will I Know, she wears just a yard or so of slink swank but still upstages...
...with photos, so the President can call on specific reporters by name. (The ( shot of Donaldson was once embellished with satanic horns and a goatee.) Reporters are seated 20 minutes early, while Reagan and his aides gather in an anteroom to survey the scene on closed-circuit TV. A cameraman pans the audience, getting instructions through a headphone to focus on correspondents Reagan may want to recognize. He called upon most of the renowned tough questioners during last week's session...
...undertake to improvise scenes that will define their 1920s Sicilian characters, only to have the speaker break in and say they have talked enough. All the while, an impish man uses a video camera to record the proceedings and simultaneously project them onto a screen at center stage. The cameraman narrates a "documentary" of random black-and-white footage of Sicily, reaching a comic apogee by intoning about Gestalt psychology as the film shows pigs being slaughtered...
That bizarre sequence opens Tonight We Improvise, a play by Luigi Pirandello, adapted and directed by Robert Brustein for his American Repertory Theater in Cambridge, Mass. Brustein also plays the impresario advocating auteurism; the cameraman is Frederick Wiseman, renowned for such PBS cinema verite documentaries as Canal Zone and Meat. Their monologues, just serious enough to be plausible -- Brustein actually does believe that directors have as creative a role as writers -- eventually become self-mockingly funny. But the jokes seem to go over the heads of much of the audience; instead of laughing, many spectators stare deadpan as if trying...