Word: fame
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Dates: during 2000-2009
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...says Myers. He adds that pubs are a natural habitat for AQA users-much as they have been for Shazam, the popular two-year-old service that identifies the names and artists of songs. AQA has given rise to what Myers calls "ego texting,'' in which twentysomethings "look for fame" by showing off to their friends that AQA knows something about them. People can also check practical information such as train schedules and event listings, but AQA will only go so far on some subjects. It will not provide legal or financial advice. On sexual matters, it might give...
Elia Kazan, who brought Brando to fame in the Broadway production of Streetcar (1947) and directed him in Waterfront, never took credit for that or any of the other moments Brando achieved for him. "The thing he wanted from me," Kazan later said, "was to get the machine going. And once that machine was going, he didn't need a hell of a lot more." It was, of course, quite a complicated mechanism. Kazan spoke of the contrast, in Brando's work, between "a soft, yearning girlish side to him and a dissatisfaction that is violent and can be dangerous...
...says Myers. He adds that pubs are a natural habitat for AQA users - much as they have been for Shazam, the popular two-year-old service that identifies the names and artists of songs. AQA has given rise to what Myers calls "ego texting," in which twentysomethings "look for fame" by showing off to their friends that AQA knows something about them. People can also check practical information such as train schedules and event listings, but AQA will only go so far on some subjects. It will not provide legal or financial advice. On sexual matters, it might give...
...Rock & Roll Star: How I Machine-Gunned a Roomful of Record Executives and Other True Tales from a Drummer’s Life (Broadway Books, $21.95), based on online road diaries Slichter penned while Semisonic toured, opens a good-humored conversation about an often overlooked side of fame. Neither dominating pop culture for any substantial amount of time nor laboring away without any success, Semisonic and Slichter have walked a much more subtle path. The stories he has to tell of the music business’ endless convolutions are not quite sordid, but neither are they ever boring?...
Perhaps it’s no surprise that Slichter has a unique take on the nature of fame. After all, the subject’s been on his mind his days as a joint concentrator in Afro-American studies and history at Harvard in the early 1980s...