Word: fibber
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Dates: during 1970-1979
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...know it was in a boot sized 9½B. The day President Eisenhower suffered his coronary thrombosis, Manchester, you can bet, knew what he had for breakfast: "beef bacon, pork sausages, fried mush, and flapjacks." Statistics tumble on the reader's head like the rich chaos from Fibber McGee's closet. Who else would know that the average height of American women increased ½ in. between 1945 and 1954 (from 5 ft. 3½ in. to 5 ft. 4 in.)? Or that they were "being impregnated," in Manchester's phrase once every seven seconds...
...Arquette, 68, creative comedian whose squashed hat, spectacles and baggy pants identified him to TV viewers as the wisecracking bumpkin, Charley Weaver; of a heart attack; in Burbank, Calif. Arquette began carving the character of Charley during the heyday of radio, when he played the "Old-timer" on the Fibber McGee and Molly show. In 1957, Charley became a regular on the Jack Paar show, where he shared with the world letters written to him by his mother from mythical Mount Idy, Ohio...
Opening his attack on inflation last week, President Ford came on like a curious mixture of two radio programs from the 1940s: Gang Busters and Fibber McGee and Molly. In the best Gang Busters fashion, he told cheering Congressmen that he considered inflation "public enemy No. 1" and pledged a resolute fight against it. Yet what he disclosed of his arsenal of weaponry for the battle seemed a Fibber McGee closet crowded with familiar ideas that have been tried, or at least noisily advocated, before...
...When you talk of the radio of the '20s. '30s and '40s, how can you not mention the great comedians? You quoted Fred Allen, but how can you pass up Jack Benny, Joe Penner, Fibber McGee, Eddie Cantor. Easy Aces, Amos 'n' Andy and, for the real old-timers around. Block and Sully...
...music (including Ozzie Nelson and his orchestra and Tommy Dorsey), the radio programs (Fibber McGee, Jack Benny) are carefully chosen, as if reality could be totally re-created out of air waves. Billboards, movie marquees, houses, cars, clothes-all are so fastidiously arranged that the movie begins to look like an elaborately decorated show window, or a diorama for a contemporary American history class. It is also just about as moving. As a young critic, Bogdanovich paid lavish tribute to such American masters as John Ford and Howard Hawks. But the harder Bogdanovich strains after emulation, the more it eludes...