Word: rawnsley
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...Party, an account by British political commentator Andrew Rawnsley of how Britain's Labour government came to squander a huge popular mandate to face possible defeat in the forthcoming parliamentary elections, identifies a multiplicity of contributory factors. Blair's unwavering determination to stand "shoulder to shoulder" with a martial U.S. is prominent among them. (See pictures of the George W. Bush-Tony Blair friendship...
Britain's Prime Minister emerges in three new books - by Peter Watt, a former general secretary of the Labour Party, Lance Price, a former Downing Street adviser, and Andrew Rawnsley, a political journalist - as a man of volcanic rages, prone to lobbing mobile phones and choice epithets if provoked. And this trio of tomes, carefully timed for publication ahead of parliamentary elections tipped by insiders to take place on May 6, certainly offers provocation. (Read a TIME profile of Gordon Brown...
...luck for Brown that the latest open book has proved the most incendiary, sparking a conflagration of claims, counterclaims and fresh allegations. "I have never hit anybody in my life," Brown insisted in a Feb. 20 interview with Channel 4 News, broadcast on the eve of serialization of Rawnsley's The End of the Party in a Sunday newspaper. (Watch a Q&A with Gordon Brown...
...Rawnsley does not allege that Brown hit anyone. His book does claim that Brown swore at U.S. political strategist Bob Shrum, stabbed the white leather interior of an official car with a black pen, grabbed a staff member by the lapels and earned a "pep talk" about how to treat staff from Cabinet Secretary, Gus O'Donnell. Taken together with Watt's depiction of a temperamental premier sulking at a dinner including Louis Susman, later appointed U.S. ambassador to London, after guests took their seats without waiting for Brown to allocate placements, and Price's account of Brown's "extraordinary...
...Maschera does Bostonians. Rather, it recasts the familiar work in a light that forces audiences to rethink it and savor it anew. Renaissance vendettas can seem remote, "operatic," unreal, but transplanted to Mulberry Street in the 1950s, they take on a grimy, visceral immediacy. In the major roles, John Rawnsley as Rigoletto displays a rich, focused baritone, and Valerie Masterson as Gilda has a clear, secure high soprano. Tenor Arthur Davies' voice is a little light for the Duke, but he manages to make the character at once attractive and morally repugnant. As the trampy siren...