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...this middle-class. Carmichael, who served as a fellow at Harvard's Institute of Politics the year after his defeat at the hands of Finch, was urban while Finch was bucolic, articulate while Finch was incoherent, organized while Finch was chaotic, and cerebral while Finch relied on good ol' home-grown common sense. Carmichael--a rich Volkswagen dealer--was the sweetheart of the more intelligent and wealthier 'Mississippians. In the election he carried Jackson, some coastal districts and the Mississippi Delta where plantations still abound and wealth and income disparities are astoundingly great. But the "working men" of Mississippi united...
...Emilia, who is further jolted when she learns of her mother's dabbling in adultery with Rosie (Anthony Zerbe), an old conductor-buddy who is currently between marriages. Emilia drowns her sorrows in a sleazy Manhattan bar one afternoon before a matinee, affecting a Russian accent while two good ol' boys from out of town try to pick her up. Her inebriation leads directly into an all-too-contrived comic device wherein Browne totters about the stage during the performance while mentor Bancroft winces in the wings...
...gone-wrong songs turn out right on a tasteful album that not only earned critical praise but became the bestselling album of the year. Jimmy Buffett: Changes in Latitudes, Changes in Attitudes (ABC). Countrified Caribbean and laid-back Southern rock blended together like a well-mixed Margarita. Waylon Jennings: Ol' Waylon (RCA). Country music's amiably gruff outlaw puts heart into honky-tonk-and Luckenbach, Texas, squarely on the map. The Phil Woods Six (RCA, 2 LPs). A master saxman and his friends hotfinger their way through familiar jazz standards and lively originals. James Taylor: JT (Columbia). Sweet...
EVERY DIRECTOR worth his or her salt wants to do Shakespeare at some point in a career, but in taking on the challenge presented by the ol' Bard, the prospective director faces problems that are frustrating and occasionally insurmountable. William Shakespeare casts a justifiably formidable shadow, even though he died some 360 years ago. All of his plays have been produced too many times to allow real innovation. Thus a director must make the terrible choice of a fairly straightforward, traditional show, or an off-the-wall, modernistic production...
...tired of everybody talking about all these crises. People throw that word around too much. Sure we have problems, but these are modern and can be overcome. Everybody's talking about the good ol' days, but these days aren't so bad themselves," he said...