Word: norman
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Indeed, it would be nice if we could always avoid showing evil people on our covers. "It's not our tendency to sensationalize crime or do covers on the crime of the week," says editor-in-chief Norman Pearlstine. "Sometimes, however, a shocking picture--of a wartime execution, a brutality, a kid with a gun--along with an analysis of the tale behind it serves to focus our eyes on things we would prefer to ignore but instead should try to understand. I think it is worth the pain if it forces us to confront the issues of guns...
...something different about an Oscar-worthy movie. It is larger than life, it has grand themes on love and life, it is supposed to inspire, thrill, move. In short, it is Dances With Wolves grand, it is Saving Private Ryan intense, it is The English Patient complex. Director Norman Jewison's (Moonstruck, Agnes of God) latest offering, The Hurricane, aspires to be an Oscar movie. It is lush, it is serious and boy does it try to stuff itself full with Oscar-worthy themes...
...have a poor grasp of his character. Dick seems more like a modern Middlebury student wearing tie-die over his J. Crew than the hippie he was written as. The women--Ruth (Shapiro) and Cathy (Shani)--are mopey and whiney respectively. In fact, the most tolerable character is Norman (Tom Miller '03), the math graduate student without social skills...
...watershed in cultural attitudes that over the next two years the Rockwell retrospective now at Atlanta's High Museum of Art will be making a national victory lap. It's not just that it passes through Chicago, Washington, San Diego and Phoenix, Ariz., then touches down at the Norman Rockwell Museum in Stockbridge, Mass.--the place where his work is usually confined, to contain any risk of aesthetic infection. It's that the tour ends in triumph at the Guggenheim Museum in New York City, an institution founded as a stronghold of "nonobjective art." If Rockwell can enter the Guggenheim...
...Stein became a columnist for the Wall Street Journal, where a rant about racist writing on The Jeffersons led to a job as a creative consultant for Norman Lear. Stein left D.C. for L.A., where he continued to write columns for publications ranging from Penthouse to Barron's, along with screenplays. John Hughes hired him when he was 40 to play a teacher in Ferris Bueller's Day Off, asking him to speak extemporaneously on economics to a class. When Stein received applause from the crew members, he figured it was for successfully explaining the Hawley-Smoot Tariff...