Word: wonderful
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Dates: during 1970-1979
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Plimpton's preoccupation with the death fantasies of his literary contemporaries makes one wonder: perhaps Plimpton is, despite his Peter Pan outlook on life, feeling the weight of his 50 years...
Scholars like Rutgers' Emmet John Hughes, who wrote for Ike, wonder if Carter would not be better off with more limited and formal rhetoric. Harry McPherson, one of L.B.J.'s speechmen, has long contended that important presidential speeches are far more than just speeches. When done properly, they force an Administration through a laborious internal process, establishing directions, making decisions, hammering out exact language and calculating how to arrest attention and enlist the public. If the preliminaries are not done, or are done badly, the speech is rarely worth anything and is frequently alarming for the evidence...
...Small wonder that most of the Châteaux Peoria enterprises are tiny by California standards and much of their wine is sold locally, often on their own premises. Few have more than 100 acres in vines. (On the other hand, Burgundy's La Romanée-Conti vineyard, one of the world's most justly famed, encompasses barely 4½ acres.) Some of their owners, and professional oenologists, point out that the soil and microclimate in, say, parts of Massachusetts and Michigan are in many ways closer to the great winegrowing regions of Europe than are overheated...
...opposition to hedonism is not limited to conservatives. The Rev. Jesse Jackson, Chicago black-activist leader, says he used to think that sexual morality was a private affair, but then he began to wonder why he saw so few young people engaged in social action. "Were they marching for full employment?" he asks. "Were they marching to rebuild cities? No, the thrust was to lower the drinking age to 18, to legalize marijuana, to engage in sex and accept no responsibility for the baby. [But] one has to have an ethical base for a society. Where the prime force...
...rock and roll, the kind of fast, urgent and purely visceral rock where the cleverness of the lyric is no more than a pleasant but totally superfluous surprise. Costello proves here that his singing is equal to the trickiest tempo and the rawest lyrics; his guitar playing is a wonder, a crashing solo in the best '50s tradition. "I'm Not Angry" gives further evidence of his instrumental strength; here too the guitar work is excellent, searing and fluid in a more contemporary style. It's a truly creepy song--the chorus is a very insistent and angry-sounding repetition...