Word: jackpot
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Dates: during 1970-1979
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This spring the quest for the $100,000 jackpot that will go to the championship team has caused more than the usual amount of erratic behavior. The Los Angeles Lakers, listless and barely able to survive their first-round clash with the bruising Chicago Bulls, came roaring back to polish off the Golden State Warriors in five games. The Knicks, helped by an injury that all but immobilized Celtic Star John Havlicek, ran up a commanding lead of three games to one, then lost two in a row. With that the Celtics did something they had never done before...
More rewarding was the aptly named Jackpot by Gerald Arpino, the company's resident choreographer. It was a mod, witty duet that suggested a Greek god and goddess having a sexual romp in outer space. As the curtain lifted, a shower of colored star beams descended to reveal Glenn White flexing his muscles on a cube-shaped platform. From behind the cube popped the curvy figure of Erika Goodman, who led White on a merry chase that culminated twelve minutes later in a highly suggestive climax. The cube lit up, a smoke bomb went off, rubber balls soared through...
Rafelson peoples his landscape with the misfit fringes of go-ahead America: wheeler-dealers and sham artists, gamblers, petty crooks and rootless wanderers. Though outsiders, they still cherish a belief in Monopoly's promise, winner takes the jackpot. So they circle the board in a frivolous game of one-upmanship, until life sputters out in disillusionment or disaster...
...Clockwork Orange. Kubrick's biggest b.o. jackpot yet, and a mess. Gone is the Anthony Burgess wit, and the texture of the novel is brutally simplified by the loss of language and incidents. Poorly acted, except by Malcolm McDowell, and directed with leering touches. SACK 57: 10, 12:20, 2:40, 5, 7:30, 10. Sunday...
...began with the first entrance in 1910, when an unknown music-hall comedian found his English routines bombing on the vaudeville circuit. His sentiments were aggravated by failure, yet buoyed by the new ethos. "The American is an optimist with hustling dreams," Chaplin concluded. "Hit the jackpot! Get out from under! Sell out! Get into another racket! Why should I stick to show business? I was not dedicated to art. I began to regain confidence. Whatever happened, I was determined to stay in America...