Word: mcdonald
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Dates: during 1990-1999
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...acquiring territory--indeed, it specializes in giving it up, as shown in the Philippines and Panama. Economically, the world has prospered under the open trading system the U.S. supports. And culturally, America is a hit. Arnold is a universal icon. Latvians like their Levi's. And everyone loves McDonald...
Empowered by Bove's bravery, I called Nancy Izquierdo at McDonald's corporate communications, who told me the company stopped counting on April 14, 1994, when, at the shady sounding, acronym-needy McDonald's Biennial Worldwide Convention, then chairman Michael Quinlan announced that the company had passed the 100-billion-burgers mark and somehow missed it. Deciding to focus on the future, he advised the 25,000 franchise owners to switch to the Carl Saganesque "billions and billions." I didn't buy one word of it. So I stopped at my McDonald's on 34th Street in Manhattan, which...
...sign doesn't have a space for a third digit, which must have prevented Eddie from rolling past 99 because of this low-tech Y2K problem. It seems corporate behemoths actually aren't all that well structured. I work for a corporation with a market capitalization larger than McDonald's, and our television reviewer still can't get free Time Warner cable service. Maybe it's a miracle that the global community is working at all. Even so, I'm still going to dress like a sea turtle. But I'm going to continue doing it in the privacy...
...genre. Lyrics and music are by Michael John LaChiusa, one of the most acclaimed of the post-Sondheim composers. It has a story of thematic heft and historical color: a retelling of the Medea myth, set in the Creole society of New Orleans in the 1890s. It stars Audra McDonald, the three-time Tony Award winner who showcased the music of LaChiusa and other art composers on her CD Way Back to Paradise. And it has received an extraordinary buildup from the New York Times, the Only Newspaper That Matters for serious theater, which ran no fewer than three major...
...musical, which opened last week at Manhattan's Lincoln Center, makes a good case for the art-song approach but something less than a good musical. McDonald emotes powerfully and sings beautifully as the title character, the voodoo-practicing daughter in a family of mixed-race Creoles, who sets the tragedy in motion when she becomes the lover of a white ship captain and bears him two children. The racial theme--"I was a servant in my father's house," says Marie's brother, describing their white father's rejection of them--is provocative without pontification. And there are fluid...