Word: classics
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Dates: during 1980-1989
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Originally written in the '50s and now a cult classic, the story is dark and morbid. Thompson has created an eerie character in Lou Ford, a nice normal guy with a devious and demented psychology lying just below the surface...
...silk number from William Fioravanti in New York City. "There are only about 500 of us in the world who own these Fioravanti tuxedoes," boasts New Jersey Entrepreneur Joe Taub, who swanks up his with diamond-and-ruby studs. Giorgio Armani works subtle and cunning variations on the classic tux ($1,395), and Issey Miyake strikes off into fresh territory with an easy-fitting model with no lapels ($1,000), but tradition holds sway in tuxedo design. "You want to know what I think about those colored things? They stink," says Sy Max, owner of Baldwin Formals in Manhattan...
CONTRARY TO the titular claim, Rosencrantz (Linus Gelber) and Guildenstern (Andrew Watson), those two fatuous forgettables out of Hamlet, have been revived once again. Poor fellows, they're forced once more to wrestle with the existential riddles of Tom Stoppard's 20-year-old classic. Lucky for us, though, because the Leverett House production is a compellingly clever and lively show, a splendid send-off for the house theatricals season...
Photography was not emphasized until the movement's later days. The camera was not seen merely as a means of aethestic expression--the exhibit lacks emotional and classic artistic poises--but rather as a technical tool which could be used to communicate and to explore visual reality. The photographs in the exhibit, created by professionals, teachers and students, reveals the range and versatility of the medium. One of the leaders of photography in the Bauhaus, Moholy-Nagy, created a number of "photograms." Photograms are not traditional photographs, but rather collections of objects exposed on photographic paper. The exhibit runs through...
...descended into alcoholism. Perelman mourned privately and rarely discussed his brother-in-law. He went on to write film scripts and plays that failed too often, and he turned out the pieces, mostly for The New Yorker, for which he is remembered: the collisions of Britishisms and Yiddishisms, the classic parodies of James Joyce and Raymond Chandler, the explosive lampoons of popular culture...