Word: first
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Dates: during 1980-1989
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...America, moving metal. Appliances, that is. Be good at it too. Get you right into that Kenmore 831 series washer when what you were really thinking about was the 701 at 56 bucks less. But oh so politely, so that you later reckon it was your idea in the first place. Bet he loves to fish and swap tall tales. Family man. Churchgoer. Never kicked...
...players who subsequently graced the annals of the Fighting Irish. Nor does it seem of sufficient luster to be mentioned in the same sentence with Frank Leahy and Ara Parseghian, coaches who won multiple national championships and were subsequently canonized by fanatic subway alumni. Holtz would be the first to agree with all this. "All I ever wanted was a job in the mill, a car, $5 in my pocket and a girl," he says with his sly, lopsided grin...
...this self-described wimp done it? Not with mirrors, although one of Holtz's secondary skills is the ability to perform parlor magic tricks. First and foremost, he is a disciplinarian in the Vince Lombardi mold. In his first team meeting in 1985, he looked around and saw players slouching in their seats. He ordered them in no uncertain terms to sit at attention from that point on. Says senior defensive tackle Jeff Alm, who is almost 1 ft. taller and 120 lbs. heavier than Holtz: "He's not the biggest guy in the world, but he seems to possess...
...there's the rub. A coach is expected to win at Notre Dame. Win a lot -- while still putting academics first and observing the NCAA rules of conduct. "If you keep the rules," the Rev. Theodore Hesburgh, then Notre Dame's president, told Holtz at his final pre-hiring interview, "I will give you five years. If you ever cut corners, you will be out of here by midnight." "We like to win," says the school's current president, the Rev. Edward A. ("Monk") Malloy, who as a Notre Dame undergraduate was a varsity basketball player. As a measure...
...scrubwoman anger of Pirate Jenny with sophisticated detail that is out of character, and enervatingly transforms the last syllable of the second-act finale from a strident long vowel to a swallowed short one. Jocelyn Herbert's cumbersome set obstructs movement, draining energy. But emotion intensifies after a dozy first act. As a singer, Sting needs the help of a recording studio, although he summons at least a shadow of the requisite cavalier charm. The main virtue is Kurt Weill's indestructible score...