Word: soule
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Dates: during 1980-1989
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...long dress because "I just feel more elegant, to be blunt about it." She is horrified by the idea of a tip jar ("It would seem like soliciting") and is hurt only "if someone requests a classic, like a Rachmaninoff concerto, something that takes a lot of your soul and concentration, arid then talks throughout. That breaks my heart...
...want to talk to you right now about a fundamental threat to American democracy... It is a crisis of confidence. It is a crisis that strikes at the very heart and soul and spirit of our national will. .. The confidence that we have always had as a people is not simply some romantic dream or a proverb in a dusty book that we read just on the Fourth of July . . . Confidence has defined our course . . . We know the strength of America. We are strong. We can regain our unity. We can regain our confidence . . . Let us commit ourselves together...
When he gave his so-called malaise speech on television five years ago, Jimmy Carter wanted to inspire. But many Americans felt the President was blaming them for his failures of leadership. The hortatory language was a little bewildering too. A crisis of confidence? The heart and soul of our national will? A rebirth of the American spirit? A great many citizens had already come to think of the President as a bit of an oddball, attuned more to metaphysics than to politics. After that impassioned, fretful analysis of the country's bad mood in the summer...
...toward a no-thrills marriage with the boss's daughter, was named executor of the estate of Edwina Cutwater (Lily Tomlin), one of the world's richest, coldest, frailest and ditsiest women. Edwina had engaged the services of a swami, sect undetermined, to transfer her mind and soul at the moment of death into the healthy body of Terry (Victoria Tennant), the daughter of one of her servants. Then, darn the luck, the sacred urn containing Edwina's essence fell out of a window and onto Roger in the street below. The left side of his body...
...conventionally handsome features, Martin came on like a silly Robert Redford, a would-be stud not quite as gorgeous or with it as he thought he was−but lots funnier. When Martin turned to feature films (with The Jerk in 1979), the challenge was to transfer the soul of this character, this smart dumb guy, into the svelte body of a comic-movie hero. It has not always been a snug fit. In Pennies from Heaven he was gung-ho but overwhelmed by the musical machinery; in Dead Men Don't Wear Plaid he got lost...