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...remain, the freshmen. Calvin Dixon arrived with havy advance billing, but made no one forget Oscar Robertson. No one questions his potential--one evening of watching those moves dispels any doubts--yet the end result only adequate. He shot poorly (36 per cent), and only infrequently put all that flash to work...

Author: By Jeffrey R. Toobin, | Title: Cagers Look to 'Get Somewhere' | 3/7/1980 | See Source »

...wails for an hour amidst pendulous light bulbs, harsh spotlights, rolling rocks, flickering candles, blinking headlights of a sleek Lincoln Continental, and the disturbing whine of steel cellos. Yet Sellars wants more. On comes a snake of worklights, four television sets and two Polaroid cameras with flash bulbs. Sellars uses every corner of the stage, from the turrets in the wings and the halls outside the theater to the back seat of the Lincoln. He positions his actors to eerie effect...

Author: By David Frankel, | Title: A Tragedy of Excess | 2/29/1980 | See Source »

...Jimmy Carter? "He is a complex, contradictory personality," Mazlish and Diamond say. They continue in a flash of insight: "Most of us, of course, are complex and full of contradictions." Carter's brand of neo-populist rhetoric and waffling reflects those contradictions. Expediency exists as part of Carter's "realism." The president blurs the lines between liberalism and conservatism because he must be "true to his own character, with its basic need to embrace contradictions." Carter's remembrances of his downtrodden childhood, his career as a "nuclear engineer," his faith in Bert Lance--all explained...

Author: By Robert O. Boorstin, | Title: Not Just the Man Next Door | 2/29/1980 | See Source »

Golding deserves a great deal of credit for his portrayal of Matty and his world. He has colored Matty's soul with just the right amount of blackness, not so much that he cannot let glimpses of light flash over and through him. Matty does not command the violent hatred from Golding that other characters do, perhaps because he straddles the delicate line of adulthood. Others are less successful indodging the malicious want of this master of allegory. For example, Golding draws Sophy, one of a pair of terrorist twins that Matty encounters, less precisely, and her character suffers...

Author: By James L. Cott, | Title: Children of Darkness | 2/28/1980 | See Source »

Contrary to FBI beliefs, the feminist movement was not just another commie-inspired flash-in-the-pan. Women and women's roles had been quietly changing since the '30s. Though virtually un-noticed by Madison Avenue and the male power establishment in the '60s, dramatic new norms were emerging. There was general acceptance of women working, smaller families and divorce, while new habits, new identities, and new networks created new needs and expectations. Because the government would not or could meet these needs, political mobilization occurred. By the time the government officially noticed the Woman's Liberation Movement...

Author: By Sarah M. Mcgillis, | Title: The Women's Boom | 2/27/1980 | See Source »

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