Word: complexity
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Dates: during 1960-1969
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...historic and human perspective. To them, evil is not an irreducible component of man, an inescapable fact of life but something committed by the older generation, attributable to a particular class or the "Establishment," and eradicable through love and revolution. In fact, the fight against evil is more complex. "Good and evil, we know, in the field of this world grow up together almost inseparably," said Milton. The West's philosophic heritage shows that both are components of human existence, intertwined and inseparable. As Luther suggested, man is simul justus ac peccator-saint and sinner at once...
...chief of the U.S. team. The Soviets suspect that it is not Smith but former Deputy Defense Secretary Paul H. Nitze, a relative hardliner who backed Nixon's Safeguard program. The Soviets also remain preoccupied by fears that the U.S.'s so-called 'military and industrial complex' will torpedo the talks. In Helsinki, Soviet newsmen continually ask Americans, 'Who has Nixon's ear?'" Some Americans suspect that the Soviets are deliberately playing up their distrust of the Nixon Administration. Their object, according to this reasoning, is to force Washington to prove good faith...
...Zeppelin's first album illustrate the foremost capacities of the group. "Good Times Bad Times" is based, as is usual with their songs, on an energetic riff rather crudely syncopated but irresistibly developed. Page plays a brief solo characterized by his enormous intervals and rapid triplets: Bonham employs complex drum pedals; Jones adds a sinuous independent bass line: and Plant insinuates a tone of bemused disconsolation into the song's eternal situation of calumniating fate. "Dazed and Confused" deals with incoherent man in the face of a latter-day Cressida. After a sufficiently stunned introduction of echoing vibrato notes...
...Heartbreaker" and "Ramble On" perhaps represent Led Zeppelin's finest achievement. "Heartbreaker" reveals the group at its best, integrating creative solos and complex subordinate lines without verbosity, repetition, or loss of outline. "Heartbreaker" takes its place with "How Many More Times" as a genial yet cynical song about the sumptuous and toxic banquet of credulous infatuation. "Ramble On" is the structural successor to "Babe I'm Going to Leave You," in which several sections are unified by Plant's masterful use of slight dynamic and tempo adjustments. "Ramble On," perhaps Led Zeppelin Il's finest song, also affords a good...
...proceeds primarily by a method of complementary rhythmic motives which, at least in "Good Times Bad Times" and "Ramble On," are the equal of Baker. Bonham's solidity of striking, his footwork, and dynamic range are comparable to Baker, while his talent for long-term organic development of genuinely complex rhythms compares disadvantageously with Baker...