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...important a factor in fostering societal violence as economic poverty, bad schools and broken homes? And in any event, is it really possible--or desirable--to manage kids' exposure to a cultural environment that can never be entirely beneficial or benign? From gangster movies in the '30s to horror comics and rock 'n' roll in the '50s, pop culture has always been strewn with pitfalls for youngsters. Sheltering kids from such things is largely futile; most seem to survive in spite...
...withering. So Dole and his advisers pore over their nightly tracking polls, which for awhile showed Forbes gaining steadily, then slipping a bit as Dole's counterattack hit home, then rising once again. By Monday night, the eve of the speeches, Dole had dipped from the mid- to high 30s down to 30, but was flattening out there. Forbes, after some ups and downs, appeared to be leveling off at 18%, while Gramm, after a brief charge during which he briefly surpassed Forbes, held around...
GEORGE GERSHWIN--EVERYONE remembers him. But Edward Elzear ("Zez") Confrey? Pauline Alpert? John Green? Dana Suesse? Today no one can even pronounce some of these names, yet once upon a time--back in the 1920s and '30s--all four of these pianist-composers thrilled large audiences with a scintillating mix of ragtime, jazz and classical sounds that became known as novelty piano. Lost in the shadows cast by Gershwin's brilliance, they have been forgotten, and undeservedly...
...Francisco-based Minton, 45, has devoted his career to the music of the '20s and '30s. With his dapper dress and trim moustache, the pianist even looks as if he could have stepped out of an F. Scott Fitzgerald story. Suesse is his special passion. At 20 he wrote a fan letter to the aging pianist, then living in Connecticut. Their correspondence blossomed into a friendship, and after hearing a tape of his playing, Suesse invited Mintun to visit her. When she moved to the Virgin Islands in 1975, she gave her protege her scrapbooks, recordings and, at a fraction...
...book expertly evokes Welles' wildly inventive productions of the mid-'30s: a "voodoo" Macbeth with the Negro Unit of the WPA's Federal Theater; a Julius Caesar set in Fascist Italy; a violent farce, Horse Eats Hat, with 74 actors; Marc Blitzstein's folk opera The Cradle Will Rock, which the WPA shut down and Welles reopened the same night, marching his cast and audience from the original Broadway house to another, empty one for the triumphant outlaw premiere. There were riots outside Welles' shows--to get in. His work was denounced by the Communist Party and the Hearst papers...