Word: panderer
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...infatuation of a child with his own potency, the love to hear again and again of his power to make the politicians pander to his whims. And like a child or a puppy, those people (you, dear reader) have no memory. Will they recall what columnist two weeks ago failed to call the score in Nebraska? And if they did, and if he'd got it wrong, would they take him to task, and tell him to alter his system of prediction or get off the public page...
...liberal then has a thankless task. He must swallow his principles, obfuscate the issues, and pander to the ignorant. This might all be more-or-less good political fun if he did not also have to turn his back on the Negro and again mutter "wait a little longer." There is but one consolation: if the liberal plays the hypocrite well, there will be ample opportunity to make up for it next year...
Only the Olympian Don Fabrizio is memorable. Played with strength and restraint by Burt Lancaster, the Prince becomes more and more detached as the aristocrats pander to the now-powerful bourgeoisie and the bourgeoisie pander to the well-bred aristocrats. At the end, as he waits for death, the bewhiskered leopard evokes pathos for the passing of real nobility. But even then, it is only the old story of aristocratic decline, for Visconti has ignored a most central aspect of the novel by observing the Prince only from the outside...
...villain, he claimed, was U.S. Attorney Robert Morgenthau "and company," who "have abused the power of their office . . . misused public funds . . . sought perjured testimony" out of "personal animus, the desire for political revenge, and an attempt to pander to the longstanding prejudice of his superiors." Among the "superiors," Cohn hinted darkly, was Attorney General Bobby Kennedy, his old foe from the McCarthy Committee days. "History speaks for itself," Cohn told a press conference. "I have never been invited to any of his swimming parties...
Music at Midnight, a new play that is fatuous in a wholly undistinguished way, brings the urgings of Moral Re-Armament to the Boston stage. To discuss it at any length would be to pander to its pretentions; it is noted were only because it has come to this country from a even-months' run in London, and because the Wilbur Theatre, for reasons unknown, has seen fit to shelter it. The play concerns itself with the Hungarian revolution of 1956, and with Britain's reaction to it (No doubt his is why the British liked it: the play ignores...