Word: basics
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Dates: during 1980-1989
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...Bangkok's red-light district, each cartoonishly evoked. Nunn took over in London, two weeks before rehearsals started, when the late Michael Bennett (A Chorus Line, Dreamgirls) was stricken with AIDS. Says Nunn: "By the time I came into the project, it was designed and cast, and the basic narrative decisions had been taken...
...could Japan surpass the U.S. in so many industries so quickly? That oft asked question receives an unusually thorough and thoughtful examination in Trading Places: How We Allowed Japan to Take the Lead (Basic Books; $19.95). Written by Clyde V. Prestowitz Jr., the counselor to the Secretary of Commerce for Japan Affairs between 1983 and 1986 and now a senior associate at the Carnegie Endowment for International Peace, this "epic tale of reversal," as the author calls it, starts with Japan's 1945 surrender aboard the U.S.S. Missouri and chronicles its four-decade push toward economic victory...
Prestowitz describes exactly how Japan got the upper hand through government support and protection of industry. The basic story is familiar enough, but rarely has it been presented in such rich detail. The book tells, for example, what IBM went through in 1960 when it sought permission to make computers in Japan. The company had to follow the government's guidelines on the number and type of machines produced and get approval before introducing any new model...
...come from but the bodies of Gauguin's Tahitians? Most of early Matisse seems present in the twining lines and harsh dissonances of red, yellow and green with which Gauguin pictured himself 15 years before in the sardonic Self-Portrait with Halo, 1889. Gauguin's sculpture and painting were basic to German expressionism, and even Henri Rousseau seems to have based his Sleeping Gypsy on Gauguin's goose-pimply image of erotic shame, The Loss of Virginity...
...this show vividly proves, Gauguin was an artist of extraordinary powers long before he sailed to the South Seas from Marseilles in 1891. By then, most of the basic obsessions of his work were in place: he had already "found himself" in Brittany, presiding over a small colony of lesser artists like Maurice Denis and Jacob Meyer de Haan, amid the ritual dolmens and the stolid squinting peasants -- an exotic tribe with its own language and religious customs, an enclave that seemed closer to the earth than the rest of France...