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...Kennedy's staff is regarded in the Senate as first rate. He has about 100 people working for him, which makes his staff about the same size as those of other committee chairmen. Generally in their 20s and 30s, his aides are exceedingly loyal and enthusiastic, and heartily disliked by colleagues on Capitol Hill for always putting Kennedy's interests first. Unlike most Senate staffs, Kennedy has no office manager. The senior men report directly to Kennedy. The most important aide is ten-year veteran Carey Parker, 44, Kennedy's balding, warmly humorous chief legislative assistant. The other top aides...
...Connally's hand-on-the-holster posture. Talking to the World Affairs Council of Philadelphia, Connally elaborated his call for in creased U.S. military presence around the world. ''The growth in the size and capability of Soviet strategic forces exceeds the Nazi buildup of the '30s,'' Connally warned. In the Middle East, particularly, he demanded that the U.S. ''move quickly to establish a rough balance of military power.'' By that he meant that the U.S. should have ''major Air Force components operating from the former Israeli airfields...
Davis Hall delivers Arthur's monologue, a 25-minute anthology of cliches about America, with more spirit than technique. This sequence can be one of Stoppard's funniest; its droning tour through Hollywood images of American cities in the '30s, with recaps in every train station, ought to build from a slow start to demonic possession. Hall starts off with too much energy, and, unable to add more, resorts to flailing his arms to hold the audience's attention...
Perhaps the most moving passage mourns the extinction of folk music in the Soviet Union. Shostakovich tells a story about the blind folk singers, called lir-niki and banduristy, who from time immemorial had wandered along the roads of the Ukraine. In the mid-'30s, the singers were summoned to an official congress of folk music in the Ukraine. Several hundred in all assembled from all over the Ukraine, from tiny forgotten villages. Says Shostakovich: "It was a living museum, the country's living history. All its songs...
...schoolboys in question have been around since the early '30s, when Sidney Joseph Perelman first began publishing his superbly crafted hilarity in the pages of The New Yorker. The magazine's readers soon developed a tart tooth for Perelman's brand of satire, a mix of burlesque and Joycean wordplay boldly colored by a fastidious disdain for the fake, the tawdry and the pompous. Even the titles of Perelman's "bits of embroidery," as he called his pieces, set new boundaries for comic absurdity: Somewhere a Roscoe; Beat Me, Post-Impressionist Daddy; Amo, Amas, Amat, Amamus...