Word: quartets
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Dates: during 1980-1989
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...what less fundamental to a liberal arts education. Further, the approval of courses on such varied and narrow topics as "Monuments of Japan." "The Novel in East Asia." "The Great Rebellion: Britain 1640-1660," "The Civilization of South American Indians" "Empire of the Mongols," "The Development of the String Quartet" and others in the same vein does not provide students with a common basis for intellectual discourse or an understanding of the influences on their lives in 20th-century America. While these courses may cover important subjects and while they may be enlightening, are they--to us Dean Rosovsky...
Riding's ideas of independence were more daring. Before shipping off to Majorca with Graves, she fell in love with an Irish journalist named Phibbs. The "strange Trinity" (Nancy, Laura and Robert) became a stranger quartet. Even the gallant and scrupulous biographer cannot prevent the arrangement from sounding like a send-up of The Edge of Night. When Phibbs rejected Riding, she swallowed Lysol and jumped from a fourth-story window. A horrified Robert leaped after her, but not before running down to the third floor. Laura sustained fractures of the spine and pelvis. Robert, with the luck of those...
...inaugural troika of aides-Baker, Ed Meese and Michael Deaver-Reagan seemed to listen to Meese most carefully on policy matters and to Deaver for political and personal advice. Baker mainly ran the shop and deferred to Reagan's two veteran associates. The troika has since become a quartet with the addition a year ago of William Clark as National Security Adviser, who has the dominant voice on foreign policy. But on such crucial domestic issues as the budget and Social Security, Baker has emerged with his hands on the steering wheel, deftly maneuvering Reagan away from any rigid...
Once a week Bliss meets with his chief assistants, a quartet his secretary calls the "four Js: Joan, Joe, John and Jimmy." With their surnames attached they are known as Joan Ingpen, the scheduling wizard; Joseph Volpe, overseer of backstage activities; John Dexter, the production adviser; and James Levine. That weekly meeting enables Bliss to get the view from all four sides of the big house. "Sometimes," he observes, "an artistic decision will create a technical problem or a box office or funding problem. When you choose a new production, you also have to ask the question: Is this...
Although Bliss has ultimate power, he has deliberately assigned creative authority to Levine and the rest of the quartet. "Basically," he says, "I don't consider myself qualified to make musical or even artistic decisions. I exercise veto power only very seldom and with great reluctance. I don't think a traditional impresario could function any longer in this job. There is not enough time to do everything. Levine tells me what he wants, and I may have to go back to him and say, 'We can't afford to use so-and-so because everything...