Word: pablum
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Dates: during 1960-1969
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Fitzwilly, the hero of this bit of family fodder, is a larcenous butler with a heart of pablum and a summa cum laude college degree. He keeps his daffy dowager boss (Edith Evans) in the chips by masterminding a ring of domestics who specialize in plundering New York department stores. When the old lady hires a pert new secretary (Barbara Feldon) with a suspicious nature, the wily Fitzwilly (Dick Van Dyke) has to scramble to bring off the big one-Gimbels on Christmas...
Nothing to Chance. For all his discipline, Poussin was in no sense a stony prude or a bloodless geometrist. He reveled in depicting bacchanalia where swarthy satyrs lurched after alabaster-skinned nymphs, and chubby putti chugged wine as if it were rosy Pablum -all composed as carefully as a ballet. In his Rape of the Sabine Women (see opposite page), swords and outflung arms set up triangles that play a counterpoint against the squarish architecture. Nothing is left to chance, not even the suggestive but studied pas de deux of the Sabine maidens and their Roman abductors...
Evansville, Ind., is a quiet community of 141,543 on the Ohio River with all sorts of distinction. It is known as the "Home of Pablum" for its Mead Johnson cereal plant, and as the "Barbecue Capital of the U.S." for its hickory trees, which furnish lumber for barbecue fires. It is also the home of Evansville College, a Methodist institution (enrollment: 2,542) that prides itself on the Christian virtues. Like hospitality. When visiting basketball teams arrive, they get a big hello: a tour of the Museum of Arts and Science, a hearty steak dinner in the campus dining...
...added the insurance of a strong supporting cast of senior comics: Keenan Wynn, Ed Wynn, Phil Harris, Everett Sloane and the late Peter Lorre. They manage now and then to do something funny, but the rest of the time they look like men struggling in an avalanche of pablum...
...Griffes and Alfredo Ginastera. But if one's scope extends to twentieth century musical ideas and materials, beyond mere rehashings of established techniques, then the HRO has been disturbingly conservative. On examination, most of the contemporary works the HRO has played have been, in style and spirit, pop-concert pablum--insipid and palatable. Almost invariably these works have been well-performed; but more than quality of performance, this community has a right to expect experimentation and education...