Word: wrongness
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Dates: during 1980-1980
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...Right or wrong, Reagan is not likely to change them. In general he sees no reason to modify his opinions when he feels the rest of the country is coming around to his point of view. The best way to form a coalition, he thinks, is for other people to convert to his viewpoint. To an extent, this has happened. But he eventually will meet more resistance. At that point, will he give a little or stand adamantly on principle...
...said the VA, it would erect an imposing common headstone with an inscription stressing the theme "Now We Are One." The VA actually opened up eleven graves and found only a few relics inside. Says Albright: "The dead had no uniforms, no identification, no nothing. So what's wrong with a common grave as long as you just don't pile them in all together...
What went wrong? Banisadr was apparently both a victim of circumstance and to a large extent responsible for his declining influence. His initial political ascendancy was well planned and executed. During elections to the "Assembly of Experts" that drew up Iran's constitution, he shrewdly managed to become a candidate of the Islamic Republic Party, the principal organization of Iran's orthodox mullahs. Later breaking with the I.R.P., he won a landslide presidential victory. Banisadr was also lucky enough to take office when Khomeini was suffering from a heart ailment; wary of anarchy, the Ayatullah had no choice...
Today's U.S. orchestra musicians are better trained, more accomplished, better paid and more widely applauded than ever before. Hence, as they sit onstage performing the masterworks of music history, it follows that they must be serenely happy. Right? Wrong, says Composer-Conductor Gunther Schuller. Symphonic players are "embittered, disgruntled, bored" and "have come to hate music," Schuller maintains. Traveling around the country as a guest conductor, he finds not joy but "apathy and cynicism" abounding in orchestral ranks; despite their high technical competence, the musicians have no "spiritual identification" with the scores they play...
What has gone wrong? Schuller, former president of the New England Conservatory of Music, parcels out the blame in three directions. The musicians' union, or at least the union mentality of the players, has fostered a grudging, clock-watching approach to rehearsing and performing, he says; jet-age music directors have left their orchestras in an artistic lurch while pursuing second and third careers elsewhere; managements and boards of trustees have run the show with the box office uppermost in their minds. "Out of sheer ignorance or arrogance, many boards have time and again made lamentable decisions," argues Schuller...