Word: fords
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...kinds of drugs were available on any corner, and the whole place was filthy; Harry Smith, the CBS news anchor, called the city "Calcutta without the cows." New York was nearly bankrupt, and the President was disinclined to help, provoking the Daily News to the decade's iconic headline, "Ford to City: Drop Dead." An army of the emotionally disturbed, evicted en masse from state mental hospitals, made cardboard-box homes on the streets. Graffiti festooned many tenement buildings and scarred the exteriors and interiors of the city's decrepit transit system. Sitting inside a subway car, with its garish...
Pity the artist who achieved success at an early age; if he stays around long enough, he'll see an endless recycling of his old work while his later work goes ignored. Francis Ford Coppola's first two Godfather films, in 1972 and '74, are among the most revered, and unquestionably the most influential, grownup films of the past half-century. Add The Conversation and his Vietnam movie, Apocalypse Now, and Coppola had one decade, the '70s, as artistically productive as almost any other filmmaker's in history. Yet in his later years, Coppola had trouble getting film financing...
Read a TIME profile of Francis Ford Coppola...
...them without fear of accidentally offending someone. This is the brilliance of the website historicaltweets.com. (See the top 10 celebrity Twitter feeds.) Historicaltweets.com has re-imagined famous moments throughout history as Twittered by the people who experienced them. Some entries are by politicians (Abe Lincoln: "Gr8 show tonite. Ford is the perfect venue for AAAAARRGH!!"). Others are by fictional characters (Odysseus: "Back home! Who r all these random dudes?"). Some even mock taboo subjects (Lou Gehrig: "Found a penny on the sidewalk! I'm the luckiest man on the face of this earth."). Despite a few questionable entries, we here...
...Tetro (Francis Ford Coppola; in theaters 6/11) Members of an Italian family fight and unite, but this ain't The Godfather. The glorious black-and-white imagery can't rescue Coppola's film from a fatal case of dramatic inertia...