Word: duking
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Dates: during 1980-1989
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...rambling stream-of-consciousness denunciation of American society. The utter weirdness of society, the hopelessness of it all is insistently driven home to us in scene after scene, whether we're watching Otto shovel down his dinner from a can marked simply "Food," or watching Otto's punk friend Duke die after a shoot-out in a liquor store. "I know a life of crime led me to this fate. I blame society," he breathes in his final words...
...constitutional scholars said that both the jubilation and despair were exaggerated. Duke University Law Professor William Van Alstyne argued that it was "quite a narrow decision" that applies only to situations in which legitimate seniority systems are in place. Other experts agree with Van Alstyne that affirmative-action quotas and goals would still be legal as long as they do not result in the displacement or demotion of white workers...
...that the quadrennial vice-presidential sweepstakes are at hand, it is worth remembering that a political ticket nearly always wins or loses on the popularity of the presidential candidate. Says Duke University Political Scientist James David Barber: "There is no clear evidence that the Vice President pulls much in the election except as a piece of the presidential candidate's image." Indeed, the importance of the No. 2 nominee may rest in how and why he or she was selected. Notes Hamilton Jordan, Jimmy Carter's chief strategist: "It is the first time people...
...this be Rigoletto? The curtain rises on a mid-20th century New York City hotel ballroom instead of a 16th century Mantuan ducal palazzo; the Duke and his courtiers are not nobles but crime lords, and Rigoletto is a bartender, not a jester. The second scene takes place in a Little Italy tenement where Rigoletto has secreted his daughter, Gilda, and where she is wooed by the Duke, who sports a high school warmup jacket. The finale is set in a seedy, Hopperesque waterfront dive. When the Duke sings his famous La donna e mobile aria, in English, he first...
...transplanted to Mulberry Street in the 1950s, they take on a grimy, visceral immediacy. In the major roles, John Rawnsley as Rigoletto displays a rich, focused baritone, and Valerie Masterson as Gilda has a clear, secure high soprano. Tenor Arthur Davies' voice is a little light for the Duke, but he manages to make the character at once attractive and morally repugnant. As the trampy siren...