Word: friedmanly
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Dates: during 1960-1969
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JUST about everybody seems to like the idea of subsidizing incomes. Republican Congressmen, Democratic Congressmen, economists ranging from Milton Friedman to John Kenneth Galbraith, and the Poor People have all proposed plans. So why is there no income subsidy...
Partly it's because different people want an income subsidy for different reasons; partly because they want very different kinds of subsidies. Friedman and the conservatives would like to enact a subsidy as an excuse for axing other welfare programs; while Galbraith and the liberals believe that the poor deserve a greater share of the nation's wealth, and want the government to step in and offset the effects of unequal opportunities...
...Broadway, this has been the year of naked truth. It reflects the widening moral latitude of U.S. society, and represents the theater's attempt to recover that adult freedom of expression which films have pre-empted in recent years. Sometimes stage nudity is irrelevant, as in Bruce Jay Friedman's Scuba Duba, where a woman, both topless and pendulous, runs purposelessly down a flight of stairs. On the other hand, in The Prime of Miss Jean Brodie, it enhances a scene of lyric sensuousness in which a girl models for her artist-lover with her back...
...cast is simply too large to do its members individual justice. But special mention must be made of Sheila Hart and Arthur Friedman (Ftatateeta and Pothinus). Their overbearing presences manage to evoke most of the corruption and tension in the atmosphere of the Egyptian court. Ed Etsten (Rufio) is physically and vocally perfect as Caesar's comrade-in-arms, though his performance lacks a good deal for variety. And when Leland Moss (Brittanus) drops the strange, epicene mannerisms which he has imposed on the character of the super-sophisticated reform barbarian, he has several moments of rare and special dignity...
...Americans, meanwhile, have adopted comedy as their tool and social alienation and absurdity as their twin themes. Nearly every important American writer-Nabokov, Mailer Barm, Bellow, Malamud, Donleavy, Roth, Friedman, Burroughs, Heller, Pynchon, Willingham-works from an assumption that society is at best malevolent and stupid, at worst wholly lunatic. The gods are dead and their graves untended, morality is a matter of picking one's way between competing absurdities, and the only sane reaction to society-to its alleged truths and virtues, its would-be terrors and taboos-is a cackle or a scream of possibly cathartic laughter...