Word: fatted
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Dates: during 1970-1979
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...world to its moping teen-age inhabitants, Reg Dwight, 28, and ever so much better known as Elton John, has become the repository of a million escapist dreams. He is the symbol of the often battered, never completely shattered juvenile faith that no one is too short, too fat, too awkward or parentally despised to be transformed into someone who is not only famous and rich, but-infinitely more important-loved by the multitudes...
...does a candidate bet on a given state? Which elections does he pass because his cards look bad? But as the 1976 primary season approaches, the candidates are more uncertain and confused than ever. Last year's campaign-funding reforms vastly changed the rules of the game. The fat cats have been dealt out. The pot is now limited. Yet some time before the first primary is held next winter, the U.S. Supreme Court could break out an entirely new and unfamiliar deck by throwing out all or part...
...Pierce ("Fat Daddy") Cofield, 48, a 340-lb. self-styled retiree, can bury them with the best. He is also a master woofer. "This is a golf course where a poor man can come and get wealthy," says one foe, trying to set up Fat Daddy for a fall. "Boy, you keep messing around with me," says Cofield, "and I'll make your pocket bigger than a rat hole...
...demise than other more publicized figures--Jaworski, or Sirica. O'Neill is really just an above average hack politician, risen to a position of power through a certain measure of talent, political knowhow, and luck. But because Breslin identifies so heavily with O'Neill (they are both Irish, fat, and aggressive), he tends to make O'Neill seem a more important force last summer than he actually was. O'Neill was doing nothing more than the ordinary politician does all the time: going with, and perhaps gently influencing, the mainstream of his colleagues' opinions. Unlike those Republicans on the Judiciary...
...takes the identity of a dead gunrunner, Nicholson at first seems all wrong. The most verbally charming of all American actors, he seems in a stasis. Using a monotone reminiscent of a robot's, he flaccidly interviews the only figures he can understand or even find, western-supported African fat cats. When he interviews a witch-doctor who turns the news camera on him. Nicholson has got to turn it off immediately, before it records the vacuity. It is a powerful statement by Antonioni, as his camera slaps down other film makers who have looked at the motion picture image...