Word: opening
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Dates: during 1990-1999
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...vicious cycle. Once factory owners realized that time was money--a notion that led to the first so-called efficiency experts in the 1920s--the idea of making every second count began to spread through society. Result: efficiency became an American virtue. Today every conceivable business is open around the clock; we multitask frantically, applying makeup or talking on the phone while driving; we cram our kids' lives with team sports and lessons. Children don't play anymore: they schedule play dates. "We are," says author Gleick, "driven by time...
...challenge to American hegemony is that it is so benign. It does not extract tribute. It does not seek military occupation. It is not interested in acquiring territory--indeed, it specializes in giving it up, as shown in the Philippines and Panama. Economically, the world has prospered under the open trading system the U.S. supports. And culturally, America is a hit. Arnold is a universal icon. Latvians like their Levi's. And everyone loves McDonald...
...show was spawned in the earnest mid-'60s, before popular culture swallowed up the middlebrow and "educational TV" became a comical oxymoron. During last week's taping, Buckley told his guests about David Susskind, the talk pioneer from the 1950s who was host of a show called Open End. "Every night he'd go on the air with some guests at 9," Buckley said, "and he'd keep going--an hour, two hours, three--until he got bored...
...heyday, Hugh Hefner could discourse on the Playboy "philosophy" and Groucho Marx on the nature of comedy. From Jack Kerouac to Mary McCarthy, and every President from Nixon through Bush, there are few figures of intellectual significance who didn't submit to Buckley's leisurely sparring. He might open a show, as he did with Norman Mailer in 1967, like this: "I should like to begin by asking Mr. Mailer, who has been sentenced to five days in jail for a march on the Pentagon and is appealing on the grounds that he was sentenced because he is famous...
...their evolution, but alter them decisively. This is what Picasso did for America and Europe in the 20th century. Perhaps less obviously, Velazquez did the same for Spain in the 17th century. He showed that the nation's painting need not be provincial, that it could be open to Europe and, especially, to such Venetian masters as Titian. Titian had made masterpieces for Philip II of Spain; now Velazquez would work on the same scale for Philip IV, grandson of Titian's patron. With Velazquez at the court, Spain no longer needed to import its talent from abroad...