Word: diana
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Dates: during 1970-1979
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...interview, and somebody else found the promo record. If I had to put my finger on it, it was the record that first gave the show away. Some ingenious record company executive had pasted a sticker to the cellophane wrapping, a sticker graced by Stanley Clarke's evaluation of Diana Hubbard's music. There is only one problem. In his glowing tribute, Clarke failed to note that he too played on this album...
...could forgive the obvious bullshit involved if the presence of Clarke--and his Return to Forever colleague, Chick Corea--had somehow managed to make this album worth listening to. But they are no more than sidemen on LifeTimes. Diana Hubbard, on her first album, runs the show, playing piano, (Corea isrelegated to the synthesizer on the one cut he graces) and writing all the music. But unfortunately Hubbard lacks emotion, technique; in fact, she lacks any creative vision beyond a vague desire to "contribute to a renaissance in romanticism...
Hill ran twice and got to the seven. On third down, he threw to Rich Diana in the endzone, but it was broken up. Coach Carm Cozza wanted the TD to slice Harvard's 13-0 advantage so he elected to go for it. Rogan went back to pass on fourth down, but all his receivers were smothered. He threw the ball out of the endzone, desperately trying to connect with Diana...
...Rose is exactly the kind of vehicle one would expect for Midler's screen debut: it aspires to the tradition of Funny Girl and Lady Sings the Blues, musicals that boosted Barbra Streisand and Diana Ross to fast movie stardom by casting them as legendary singers of the past. Still, there is a basic flaw in The Rose's design that makes the film hard to take seriously. While Streisand and Ross were reasonably plausible stand-ins for Fanny Brice and Billie Holiday, Midler is not credible as a bluesy rock belter. Her strident Broadway voice and campy...
...revelations by disgruntled former employees and leftist ideologues have not added up to a balanced appraisal of the agency. To a considerable extent, that task has been accomplished by Thomas Powers, a former U.P.I, reporter who won a Pulitzer Prize in 1971 for his coverage of the radical bomber Diana Oughton. With near clinical detachment, Powers has produced a remarkably realistic portrait of American intelligence beset by bureaucratic rivalries, personality clashes and presidential caprice...