Word: griffiths
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Dates: during 1990-1999
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...suggestive. In the half-century in which commercial broadcasting has existed, only 10 sitcoms have ever finished first in the ratings for a season, and Seinfeld has the distinction of being one of them. The others make a curious list: I Love Lucy, The Beverly Hillbillies, The Andy Griffith Show, All in the Family, Happy Days, Laverne and Shirley, The Cosby Show, Roseanne (which tied one year with Cosby) and Cheers. Seinfeld was No. 1 for a single season, 1994-95. Since then it has finished second to ER, which is where it places so far this year...
Impressive, but not unique. Some of the No. 1 hits of the past were also pretty good, and perhaps even better than Seinfeld. The Andy Griffith Show, for example, achieved comedic moments of unmatched beauty. These usually came in the loping conversations between Andy and Barney in the sheriff's office, exchanges with a slow pace and subdued hilarity that would be impossible to offer on television today. Others would cite All in the Family or Cheers or Cosby as series that were more skillful and enjoyable than Seinfeld. And while Seinfeld should be credited for going...
Scotto could be the D.W. Griffith of musical shorts, not so much for his story-telling vigor as for his love of racial stereotypes. He bedecks Armstrong in a leopard-skin tunic, harem pants and body glitter; he urges his black actors to grimace grotesquely and gives them fearful patois to spout ("I run until I's black in de face," says a man fleeing a Latin American revolt in the 1931 Be Like Me). He was not alone in caricaturing African Americans. Crosby, whose crooner inflections owed much to black musicians, wears blackface in the 1932 Dream House...
Kaufman's column centered on Peninsula's cover story "Know Your Enemy," which named prominent campus and public figures who Christopher M. Griffith '97, the author of the magazine's "Enemies List," felt were counter to Peninsula ideals...
...life, then in eternity. Death is a "sweet bluebonnet spring" ("When we die we say we'll catch some blackbird's wings/ And we will fly away to heaven") in the gorgeous remake of her Gulf Coast Highway, a duet with Hootie's Darius Rucker. His gruff baritone and Griffith's twangy soprano soar apart, then join in double rapture. The instrumentation--string quintet, Floyd Cramerish rolling piano, electric slide guitar--makes the song a pretty little anthology of pop's fine old tendency to synthesize, not isolate, strains of music. Listening in the Great Beyond to Griffith's salving...