Word: caste
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Dates: during 1990-1999
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...telling the whole truth about small matters is simply one possible tactic among many. He is a master of the fudges, fibs, hedges, exaggerations and omissions that grease the wheels of public relations. Most pols will employ them now and then to various purposes--to flatter allies, condemn opponents, cast themselves in a happy light--and more often than not the public shrugs, when it notices...
...self-made enigma who gave interviews rarely and only on his own terms, meaning no personal questions. Though his homosexuality was an open secret, he never discussed it in public, going so far in 1951 as to become engaged to the ballerina Nora Kaye. (They never married. Interestingly, he cast her as the novice man killer in The Cage.) It took a subpoena to get him to talk about his private life: he testified before the House Un-American Activities Committee in 1953 about his involvement with a communist group of the '40s, naming eight other party members. "I feel...
Linc's may have an almost entirely black cast, but anyone who thinks it is just another ethnic sitcom featuring bawdiness and near minstrelsy is in for a surprise. Produced by Tim Reid, who created the esteemed but short-lived Frank's Place, this show aims high, taking up issues of race, politics and sexual orientation. The hero, played by Steven Williams, is a black Republican who owns a bar in a rundown but gentrifying neighborhood of Washington. His regular customers include a natty lobbyist, a prostitute, an African cab driver and, the only white, an aide to a decrepit...
...work. Based on an Elmore Leonard novel, Maximum Bob stars Beau Bridges as a colorful, corrupt judge in a small Florida town. He's the kind of guy who will avoid paying his ex-wife alimony by putting her in jail. Amusing, smoothly put together and featuring a likable cast, this summer series augurs well for Sonnenfeld's next (and very curious) TV project, a revamped Fantasy Island, which has won a place on ABC's fall schedule...
...along with Keezer's provocative, concerto-like arrangements (his accompaniment can be even more interesting than his solos), suggests a kind of jazz version of Baroque counterpoint. Three cuts feature a breathy Diana Krall on vocals; two others nibble on the airier edges of fusion with an expanded cast of electronic and acoustic musicians. Miraculously, it mostly all coheres--one more paradox...