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...little bright boxes, either already assembled or as kits. In the shop, they were stacked up under a couple of large color photos of Jack Guy himself, wearing an outlandish shirt of more colors and materials than Joseph's coat, bibbed over-alls, and an immense sort of Hoss Cartwright style black hat with bead-work band. The hat suggested a renegade Indian trader. Jack Guy's hair is cut rather too neatly for a hill person, but his face is pretty convincingly weathered. In the pictures he holds a gee gaw whimmy-diddle or a flipper-dinger...

Author: By Phil Patton, | Title: Pennies for the Old Guy | 5/17/1974 | See Source »

...hoss...

Author: By Richard Turner, | Title: An Apology for Merle Haggard | 10/11/1973 | See Source »

What finally downed this venerable show was a fusillade from several directions. It never recovered from the death last May of Dan Blocker, who played Hoss, the bluff but gentle giant. Perhaps most important, public taste was changing, and the show's simple formula did not allow for exploration of the more complicated themes that interest viewers today. In the latest Nielsens, the series had fallen to No. 53. There is still some solace for Bonanza buffs, however. Chances are that it will rerun through syndication for at least another 13 years...

Author: /time Magazine | Title: Show Business: Purge Week | 11/27/1972 | See Source »

...Code. Understanding Shepard's continuing theme is a necessity if the playgoer is to glean what the author's latest play, The Tooth of Crime, is basically about. Currently having its U.S. première at the McWhirter Theater in Princeton, N.J., it features a hero named Hoss (Frank Langella), who is a rock star. He is also a kind of robber baron of the Western freeways. He is a "marker" who scores "kills" and controls cities as fiefs. Hoss also works within a system, never deviating from "the Code." His territory is allotted to him by unseen...

Author: /time Magazine | Title: The Theater: Cutting Session | 11/27/1972 | See Source »

...Hoss is shivering inside his black leather. Unbound by the system or the code, "gypsy" mavericks are working the territory. In Act II, Hoss is challenged by a gypsy named Crow (Mark Metcalf). They engage in a sacrificial stomping dance entangled in electric cords and thrust microphones. It is part musical cutting session, part machine-gun duel of far-out words, and it is as chillingly old as a tribal rite in which the young warrior snatches control from the aging patriarch. The language varies between wild incomprehensibility and allusive symbolism. Crow, for instance, calls Hoss, "Feathers," meaning horse feathers...

Author: /time Magazine | Title: The Theater: Cutting Session | 11/27/1972 | See Source »

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