Word: successful
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Dates: during 1970-1979
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...makes him a scapegoat. Says Press Secretary Jody Powell: "Most of the things he gets blamed for are someone else's fault." Including, in some cases, Carter's. The President views liaison with Congress on vital issues as his own responsibility-one he has discharged with uneven success. As a result, he has sometimes failed to keep Moore sufficiently informed to be effective. For instance, the U.S.-Soviet statement on the Middle East caught Moore as much by surprise as it did his Hill contacts. Another factor is Carter's unwillingness to appoint a single top aide...
...just a wealthy real estate investor who was harassed by overzealous, even jealous white authorities. Police contended he was the biggest heroin dealer in New York City, maybe in the country. To blacks in his old Harlem neighborhood, Leroy ("Nicky") Barnes, 45, was a legend of defiance and success. What he had he flaunted, and he had a great deal: 300 custom-tailored suits, a string of glamourous women and powerful friends in show business and politics. He drove two Citroën-Maseratis and four Mercedes. Ghetto kids, said a black police detective, "think he's the greatest...
...street, more than 200 members of black organized crime rolled up in their Cadillacs and Rolls-Royces to a catered affair in a private club atop a midtown skyscraper. Also in attendance were dozens of relatives from around the country-and one white, his lawyer. Barnes' financial success is a matter of record-in theory. For 1975 he reported to the IRS that he had earned $288,750. Of that, $1,750 was "wages" and the rest was "miscellaneous income." He also claimed $453,000 in real estate losses as a tax shelter...
Donald Martocchio and Hayes are the tappers smiling their way from adversity to hilarity, and they make the show a success. They have different styles that mesh well, especially when they try to outdance each other; you can sympathize with Hayes' upright stance or with Martocchio's more limber style...
...well occur when the harpies emerge to terrify the ship-wrecked crew dressed in amoebic body stockings. The effect, for the first time, is very good, and the production takes off from there, building to a satisfying conclusion. In the final analysis, however, Shakespeare himself makes this show a success, for the script of The Tempest contains an abundance of good lines and absurd situations, all delivered in unique blank verse. The Adams/Quincy troupe rallies around the play and finishes triumphantly; despite some bogus effects, this Tempest is an interesting, innovative production that almost surmounts the difficult challenge that...