Word: rogerism
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...frequent mood of misery was absent last week, and so it may not be a complete coincidence that baseball's strike was short-lived. Over an amazing prestrike weekend, baseball's Rod Carew, Tom Seaver and Dwight Gooden, football's Joe Namath, O.J. Simpson and Roger Staubach, a runner named Steve Cram, a tennis player named Boris Becker and an amateur golfer named Scott Verplank had got in the first word, not for the players or the owners but for the games: excellence. On dark occasions in sports, the President and both houses of Congress can vouch for this inessential...
Styles and settings barely begin the contrasts between Roger Staubach and Joe Namath, new Hall of Fame quarterbacks from the Naval Academy and Alabama, Dallas and New York City. During the late '60s and early '70s, they were on the opposite ends of every spectrum. In a Fu Manchu mustache, Namath played Elvis Presley to Staubach's Pat Boone. But they came to be stuffed and mounted together and cried along with Simpson during the inductions at Canton, Ohio. As Namath searched the sky for a hangdog man in a houndstooth hat, the late Alabama coach Bear Bryant, he also...
...piece on Louis Farrakhan [ESSAY, Oct. 21], Roger Rosenblatt says, "The press may or may not 'create' Farrakhan, but it does not create the silent haters." This is true. The silent haters are produced by a nation that will not accept blacks as equals. If everyone in America were truly equal, Farrakhan would be delivering speeches to empty auditoriums. James L. Riddle Oviedo...
Sometimes the incarnations compete. In the early film versions, Ian Fleming's James Bond became Sean Connery. Then Bond turned into Roger Moore. Convinced that Bond was Connery, some moviegoers dismissed Moore as an impostor. Charlton Heston, conversely, performed a miracle of dramatic consolidation in the 1950s and '60s. He became Moses, Ben-Hur, Michelangelo, Andrew Jackson and John the Baptist: everyone this side of God. Heston possessed such brooding gravitas that he could plausibly pass for an abstraction, the decalogue with a strong chin...
...think of it as a compromise to write music that means something to the player and listener," says Zwilich, who lives in New York City. Indeed, although she studied at the Juilliard School with Elliott Carter and the late Roger Sessions, both masters of almost gnomic complexity, Zwilich writes in a disarmingly open style. On the page her music looks as clear as Brahms'; to the ear it sounds as bold and vigorous as Shostakovich's or Prokofiev's. But it always remains her own. Says she: "The more I am true to myself, the more accessible I seem...