Word: cheeks
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Dates: during 1950-1959
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...dowagers, the company of fame. He is brash and often tactless. He suffers from what was once described as a pre-Copernican ego, i.e., seeing the whole world revolve around him. The condition was described by his onetime mentor, Conductor Artur Rodzinski, with an expressive Jewish word that means cheek, nerve, monumental gall. "He has hutzpa," says Rodzinski, and illustrates what he means with the story of how Bernstein, a mere 35, dared to conduct Beethoven's sacrosanct Ninth Symphony with the great Santa Cecilia chorus in Rome. "And he had the nerve to move his hips in time...
...golden, but a "gold-plated," age. "Most of our literature," Jarrell complained, "is Instant Literature, Ready-Mixed Literature . . . easy, familiar, instantly recognizable thoughts . . . already-agreed-upon, instantly acceptable attitudes." When he turned to the visual arts, there was somewhat less jaundice in his eye but just as much cheek in his tongue: "I hardly know whether to borrow my simile from the Bible, and say flourishing like the green bay tree, or to borrow it from Shakespeare, and say growing like a weed...
...first Negro player. To prepare him, his mentor Branch Rickey called him into his office one day, cursed him, swung at him, then spat at him a particularly vile name. "What do you do now, Jackie?" Rickey asked. Robinson replied: "Mr. Rickey, I guess I turn the other cheek." For the next couple of years he played superlative baseball while snaffling his hot, competitive temper under the taunts and slurs of his opponents and even some of his teammates. It was the only compromise he ever made on the ball field. And once he had won his particular Gettysburg...
Tiburcio, the imaginary Mr. Everyman of Panama, who ordinarily dismisses a government economy drive as little more than whimsical propaganda, thoughtfully withdrew his tongue from his cheek last week. The first budget by Ernesto de la Guardia, the austerity-preaching new President...
...image is shattering in its simple physical force. Again and again, Kurosawa sends a dark thrill through his audience with a touch of sensuous physical reality. A reflection of flames plays upon a young wife's cheek, explaining its softness. An old man speaks, and the spectator can clearly hear the slobber as it slides up and down his throat. Effective as it is, there is nevertheless something tiresome in all this sensuality. In The Magnificent Seven, as in Rashomon, Kurosawa has provided a feast of impressions, but has skimped on some of the more essential vitamins. The characters...