Word: witness
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Dates: during 1980-1989
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Mondale has genuine wit, but he is not without his liabilities. He is closely associated with the unpopular presidency of Jimmy Carter. His brand of liberalism is in eclipse, so much of the intellectual force of his campaign will have to come from his "new ideas." Most important, the scrutiny given the front runner will magnify and occasionally distort his campaign. Mondale is the man to beat: any victories will be viewed as unremarkable, any losses considered big upsets, and any stumbles treated as potentially fatal...
...close and M*A*S*H generated the momentum any TV series needs to sustain its quality after the first few seasons, the show revealed itself as a gritty romance about the finest American instincts. Here were gruff pragmatism, technical ingenuity, grace under pressure, the saving perspective of wit. The men and women of 4077 MASH could be seen as us at our worst hour, finding the best part of ourselves...
...Brooklyn Academy of Music. Part narrative epic, part rock opera, part home movie, United States is a sharp-eyed, sharp-tongued, aphoristic examination of 20th century life in 78 segments, lasting six hours and taking two evenings to perform. Wagnerian in its scope, Carrollian in its absurdist wit, Carsonian in its deadpan, stand-up-comic timing, Anderson's work is the biggest, most ambitious and most successful example to date of the avant-garde hybrid known as performance...
...instance, but the risk takers, according to this battlefield survey, are often among the bodies left behind. As one financial expert interviewed by the authors put it, "Gold rushes finish ugly." Even so, in a business environment where the average corporation survives just six years, little companies with wit and guts can still occasionally outmaneuver corporate goliaths. Stories of a few that have provide some of the most entertaining and enlightening moments here...
...much for the world's bigots and half-pints, whose hash has been temporarily settled by the quirkiest, most implacable satiric sensibility in American pop. They may join the ragtag list of victims, victimizers, unanointed antiheroes and assorted foul balls about whom Newman has sung with stinging wit and unexpected compassion. Newman, 39, exults in playing musically the same role he has picked for himself socially: the perennial sourpuss at the party, over in the corner, casing the room and making nasty cracks about the other guests. On his new album, Trouble in Paradise (Warner Bros...