Word: recording
(lookup in dictionary)
(lookup stats)
Dates: during 1990-1999
Sort By: most recent first
(reverse)
...record setting day against Dartmouth was icing on the cake in the blowout victory, but Harvard may need to rack up just as many yards in total offense just to squeak out a narrow victory over Brown...
Dartmouth, despite its 1-6 record was supposed to be deceptively tough. Brown, on the other hand, is a sure-fire bet to give the Crimson defense a headache all day long...
...where he laments the way American Top 40 music has corrupted global culture. Indeed, Top 40 music is often idiotic and profoundly uninteresting; however, Liebert makes the mistake of conflating Top 40 with rock music in general. Top-40 is produced and promoted by a few profit-seeking major record labels like RCA, Columbia, and Warner Brothers, which release same-sounding music in hopes of discovering the next big hit. This "rock star" approach is deeply at odds with a more vital function of rock music, that of political, social and cultural protest. As Liebert observes, it's a shame...
...life is threatened, his ex-employers hire thugs to stalk and scare him, and his wife leaves with their two daughters; he loses everything for a chance to set the record straight and doubts whether the price was worth it. Meanwhile, Bergman can't get Wigand's interview on the air at CBS; Don Hewitt and the corporate heads fear a multi-billion lawsuit from Brown and Williamson, and Bergman must plead with Hewitt and anchor Mike Wallace to get the ground-breaking interview on "60 Minutes." The loose, organic structure of the film works its magic in the first...
...Although Mann has added certain specifics to the story, like invented dialogue, Lowell Bergman insists that the essence of the story is intact. "The big, broad truths of this are all public record," says Bergman. "In that sense the film is basically accurate." But does "basically accurate" really cut it for a film dealing with such delicate subject matter? The real-life Wigand and Bergman, the two protagonists of the film, have not objected to Mann's portrayals of themselves and their stories. However, Bergman says his character in the film is "too neat" to really be him, and Wigand...