Word: fats
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Dates: during 1970-1979
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Once he gets his manpower on campus, the soft-spoken Chesbro, 35, puts them through a wearing training regimen. Beginning in September, three months before the season opens, wrestlers work out three to four hours a day, concentrating on melting off every ounce of "Sub-Q-Fat"-their abbreviation for subcutaneous fat. That struggle continues through the season as wrestlers work to make their weight division before each match. Frequently they go without food for 18 hours before weigh-in, then stoke up in the five hours between weigh-in and match...
...simplest level, the Keneally Joan can be very simple indeed-obstinate but rather dull with the protuberant brown eyes of a cow: "Looking at her, you nearly went to sleep." She is an object of manipulation. The knights wave her like a banner to win battles. The "fat clergy" cash in those victories as new ecclesiastical revenue. The Dauphin, of course, uses her to gain his crown. Keneally graphically savors the irony of this visionary innocent ("our little he-nun") ending up in the midst of disemboweled and headless corpses, moving from battlefield to bloody battlefield in the company...
...enormous waxy-faced man carooms through the front of the crowd. He is rounder and crazier than helium balloon, and he's spreading false information about the march's route. Losing his temper a black man shoves his hand into the fat man face, crumpling a leaflet into his mouth. Under a bare tree, two securitymen twist the black to the ground. He's screaming, "I won't let any motherfucking son-of-a-bitch stand in our way." With cries of "police agent," and "white racist pig" the crowd tries to bounce the fat man into Park Drive where...
...fat, balding Cleveland garbage-disposal contractor, on the lam from his wife's mobster brother, takes refuge among the Ritz's imps of the perverse. What follows is a bedlam of straight-gay confrontations. Robert Drivas directs with manic speed and lashings of hysteria, perhaps recognizing that if this show stops for a minute, it may never start up again. In The Ritz, McNally abandons the idiosyncratic comic vision he brought to Bad Habits (TIME, Feb. 18, 1974) in favor of old vaudeville and burlesque routines. Still, there are plenty of laughs left in those, whichever...
...gentler conceptions of John Bull, Uncle Sam and even Santa Claus are the ones that most artists still sedulously ape. On the near side, Herblock 's State of the Union (Viking/Compass) presents the dean of contemporary cartoonists, Herbert Block, drawing-and quartering-his favorite quarry: Government waste, pomposity, fat-cat lobbyists, and last and by all means lost, the Nixon Administration...