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That this profane creation could have been mistaken for a calcified Superman with a biblical pedigree evokes patronizing chuckles today. But Jacobs, an undersung writer (Beautiful Soup, The Egg of the Glak and Other Stories), treats bunkum and hypocrisy as endearingly ambivalent national traits. Unsurprisingly, his all-time champion of this view is P.T. Barnum, who at one point tells General Tom Thumb that "our mission is to startle and amuse, to make our audience pay too much for too little and forget to hang us from the nearest lamppost...

Author: /time Magazine | Title: BOOKS: YANKEE DIDDLE DANDY | 11/10/1997 | See Source »

Berners-Lee is the unsung--or at least undersung--hero of the information age. Even by some of the less breathless accounts, the World Wide Web could prove as important as the printing press. That would make Berners-Lee comparable to, well, Gutenberg, more or less. Yet so far, most of the wealth and fame emanating from the Web have gone to people other than him. Marc Andreessen, co-founder of Netscape, drives a Mercedes-Benz and has graced the cover of several major magazines. Berners-Lee has graced the cover of none, and he drives a 13-year...

Author: /time Magazine | Title: TIM BERNERS-LEE: THE MAN WHO INVENTED THE WEB | 5/19/1997 | See Source »

...Well, I started my career as a painter and an art historian. Painting is undersung-99% of all films have a literary base. Film should have more confidence in itself; it should rely on other art forms. All these art forms are related. What I would like to do is regard cinema as a visual meeting with the audience. In a way it isn't. It relies too much on soundtrack, dialogue, story. Continuity of painting through and into cinema is important. You need an attitude of composition, color coding, symbols and metaphors. Cinema is going...

Author: NO WRITER ATTRIBUTED | Title: Adapting The Tempest | 12/5/1991 | See Source »

...next three sides highlight individual performances. Gayle Moran's rendition of "Come Rain or Come Shine" falls flat--she should know enough to stay away from such a gutsy jazz singer's standard. Serenade features Joe Farrell's tenor sax, an undersung quantity if there ever was one. Stanley Clarke performs a lengthy acoustic bass solo that is more a technical coup than a creative improvisation. His sheer enthusiasm makes the cut listenable despite serious intonation problems. Corea begins the show's finale with a 17 minute piano solo. His playing is so damned interesting that he very nearly carries...

Author: By Paul Davison, | Title: Lost In Eternity | 1/15/1979 | See Source »

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