Frank Lloyd Wright cultivated a mystique of solitary inspiration, ensuring that his accomplishments were regarded as the works of one man’s towering genius. The draftsman who was critical in visualizing much of his early work was a genius in her own right.
In the 1920’s, Harold Lloyd’s silent film stardom outshone Charlie Chaplins. Today, we remember The Little Tramp while The Glasses Character is a cinephile’s trivia question answer.
An upstart gains initial traction by exploiting an underserved niche and, years later, nearly unseats the incumbent through a revolutionary ad campaign.
A man without peer in the “Noble Game of Billiards” could not compare with his huckster rival in the game of “pool” played out in the barrooms and basements of post-war America.
In a case of collateral damage during the early PC wars, a revolutionary font, alternately loved and hated, is overtaken on the web by an inferior copycat.
The four-time Super Bowl losers are enduring reminders that hard work plus talent plus time is still no guarantee of success.
Did a lepidopteran girl-monster like Mothra ever have a chance against a reptilian guy monster like Godzilla? In the skies over Tokyo, yes. In the teenage brains of testosterone-addled mid-century monster movie fans. Not a chance.
An angry young man at the vanguard of the post-punk English New Wave, Graham Parker never veered too far from his pub-rock roots while his contemporary Elvis Costello soared to great heights as a musical chameleon.