Word: morale
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Dates: during 1990-1999
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Unfortunately, the simplicity of Lyons's characters, plots and dialogues becomes overwhelmingly annoying and frustrating. Not only is Dog Days generally unbelievable and insulting to many minorities, it is fluff that probably wouldn't even fly on a hot summer's day at the beach. Essentially, the moral of the Dog Days is that if you don't steal dogs from the Mafia, your life will be straight out of the Eddie Bauer catalogue. Wait a minute--the Eddie Bauer catalogue? No, according to Lyons, life for Boston's yuppies is only worthy of J. Crew...
...make such a singular hampering flaw on a record is not horrible, but to make it intentionally conspicuous is a significant misjudgment. Notable on the first track, "Intro," the band is too aware of its own destiny for personal success and public appreciation; the group members mistakenly assume that moral suasion should be flaunted outright instead of embracing the more preferable latent variety conveyed through experiences and opinions...
...pregnant and at-risk teens tried hard to keep God at arm's length. The private school was established in buildings next to a Catholic parish, but the school went through the formality of buying the property from the church for $1. The teacher providing the students with moral direction was not a priest but a former priest. And, yes, there was a giant cross carved in the side of one of the school's buildings, but it was covered over with a cross-shaped air-conditioning unit...
...characters occupy the play's more complex moral center: the warden's new secretary (Sherri Parker Lee), who can't reveal the brutality she sees for fear of losing a job she desperately needs, and a convict called Canary Jim (Finbar Lynch), who has ingratiated himself with the warden by ratting on other inmates. Jim is the most recognizable Williams character, a stunted romantic who scoffs at Keats (when he starts writing, Jim vows, it won't be about nightingales) yet proves himself an idealist in a pinch...
...action than of reflection, his autobiography, Walking with the Wind: A Memoir of the Movement (Simon & Schuster; 496 pages; $26), co-authored with Michael D'Orso, at times degenerates into a travelogue of movement battlefields. But it also provides a stirring portrait of the power of moral consistency and courage. Lewis and SNCC colleagues like Diane Nash and Robert Moses were willing to put their lives and bodies on the line at a time when both white political leaders like John Kennedy and established civil rights groups like the N.A.A.C.P. urged caution and so-called moderation. The young activists were...