Word: stanly
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...Crimson countered with a 3-0 sweep of the foil event. Foilsmen Merner, Stan Samkange and Dave Greenberg looked anything but inexperienced as they speedily stabbed their SMU opponents...
...that point, as Brooks phrases it, "the inmates took over the asylum." Tinker, the perfect boss, gave his writers nearly total freedom, and the result was not only The MTM Show, but eventually Rhoda and the Lou Grant show. Brooks, Weinberger and a fellow writer-producer, Stan Daniels, went their own amicable way in 1977 and formed the partnership that has produced The Associates and Taxi. If The Associates survives its early low ratings, Brooks' income will rise faster than the price of gold...
...Urban (Red) Faber; 106. Pete Fox, Charlie Gehringer, Hank Greenberg, Gee Walker; 107. 13-12; 108. 13; 109. Norm Cash; 110. .361; 111. Hal Newhouser; 112. Buck Weaver; 113. Red Schoendienst, Lou Brock; 114. John Matlack; 115. George Foster; 116. Mickey Mantle, Jimmie Foxx; 117. Chuck Klein, 170; 118. Stan Musial, Ernie Banks; 119. Al Kaline, Carl Yastrzemski, Lou Brock; 120. 96, Ninety-six, South Carolina; 121. Bob Gibson; 122. Dave DeBusschere; 123. Dick Groat; 124. Tim Stoddard; 125. Cal Hubbard; 126. Bill Haller; 127. Bill Valentine. Al Salerno: 128. Larry Barnett; 129. Emmett Ashford; 130. Bill Klem...
...proof can be found in this series about a staid Wall Street law firm; it is the latest triumph from James L. Brooks, Stan Daniels and Ed Weinberger, veterans of Taxi and The Mary Tyler Moore Show. In the new show, these writers have again loaded a simple sitcom premise with a wide variety of well-drawn (and exceptionally well cast) characters, sophisticated jokes and astute social observations. The first episode, which may be a classic of its kind, also manages to work in unforced slapstick gags, a touch of pathos and a double-whammy final punch line...
...DIED. Stan Kenton, 67, patriarch of progressive jazz; of a stroke; in Los Angeles. When Kenton crashed onto the West Coast jazz scene in 1941, his fortissimo "walls of brass" sound struck some critics as "sheer noise," but his popularity endured long after the demise of swing. He helped introduce Afro-Cuban rhythms to U.S. pop, invented the mellophonium, a trumpet-French horn hybrid, and wed classical music with jazz both in his own dissonant compositions (Artistry in Rhythm) and in unorthodox interpretations of Wagner and Ravel...