Word: mythicize
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Dates: during 1990-1999
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THIS SHOULD COME AS NO SURprise. The tensile, ravishing songs on Music for the Native Americans have been aborning, under one title or another, since Robbie Robertson's early glory days with the Band. As that seminal group's linchpin, Robertson wrote spooky, spunky and romantic valedictories to the mythic ghosts of American history: rounders and robbers, gamblers and wanderers, the proud, the humble and the haunted...
Wonderfully wrong. This was no Star Trek reunion, with techno-dweebs debating the mythic import of Episode 34. It was the first ConventioCon ExpoFest-a-Rama of cable TV's Mystery Science Theater 3000. On a recent weekend, fans paid $45 each (plus room and board) to bond with one another, meet the program's writer-performers, attend a live show, comb through old props, view rare tapes of early episodes and dress up for the Midwest's ginchiest costume ball...
...here are Burns and co-writer Geoffrey C. Ward, in the elegiac introduction to the series (as well as to the hefty companion book being issued simultaneously by Knopf): "At its heart lie mythic contradictions: a pastoral game, born in crowded cities; an exhilarating democratic sport that tolerates cheating and has excluded as many as it has included; a profoundly conservative game that often manages to be years ahead of its time. It is an American odyssey that links sons and daughters to fathers and grandfathers. And it reflects a host of age-old American tensions: between workers and owners...
Ever since that mythic street urchin wailed, "Say it ain't so, Joe" to Shoeless Joe Jackson after he confessed that he was involved in fixing the 1919 World Series, generations of sad-eyed children have been forced to learn that baseball can be a cruel business. So it was in Oakland with 14-year-old Jeremy Musser and his brother Nick, 11. The moral for Nick is that "the players are getting too greedy." Jeremy's allegiance to the game is in danger of fading. "If I can't be a baseball fan," he said practically, "I'll probably...
...devotion to the works of Richard Wagner is a worldwide cult, then a performance of The Ring of the Nibelung is that religion's ultimate rite: a fervent emotional and aesthetic observance. Any opera house that is able to produce the Ring cycle -- four long, mythic music dramas, based on old Norse and German sagas -- is assured of a sellout. Audiences travel across continents to submit themselves to the Ring's thrilling embrace. Among Wagner's many other theatrical gifts was his ability to build a climax at the end of every act, so that the audience is continually swept...