Word: fellows
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Dates: during 1960-1969
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...organ, dimly at first, begins to play a soft, floating melody. Then the drums pick up, and the bass quickly joins in with a muffled, steady beat. Finally, a fellow in a red-striped T-shirt, smiling but otherwise motionless, steps to the microphone, and, about as pleasantly as a human being can make a sound, begins to follow the organ with his voice. The lyrics are simple: "lalalalalalalala." But the meaning is clear...
CHOPIN: THE NOCTURNES (RCA Victor; 2 LPs). German Poet Heinrich Heine once wrote about Chopin that his "fame is aristocratic, it is perfumed with the approval of good society, it is as distinguished as his person." The same might be said of Artur Rubinstein, Chopin's fellow Pole. Taking the long-lined melodies of the 19 night pieces, Rubinstein floats them on their shifting chromatic undercurrents in a most elegant and assured manner, never falling into sentimentality...
Their average life span is 21 years shorter than their fellow citizens'. Their unemployment rate is nearly 40%, ten times the national average. Some 50,000 American Indian families live in miser able huts, shanties, tents, abandoned cars. Half of their children never finish high school. Their sickness, illiteracy and poverty rank among America's worst. Their sad estate last week moved President Johnson to declare in a message to Congress: "No enlightened nation, no responsible government, no progressive people can permit this shocking situation to continue...
...often heard, but seldom seen. The rich, resonant bass that frets, in the name of Johnson & Johnson Band-Aids, "It's a dirty world," is Scourby's. The voice that expresses Eastern Air Lines' sentiment, "We want everyone to fly," is his. He is also the fellow on the tele phone commercial who explains warmly that "We may be the only phone company in town, but we try not to act like...
Through Gabo and his fellow constructivists, who took over leadership in the 1920s, the movement expanded to influence Germany's Bauhaus and the Dutch exponents of De Stijl. For art historians, the show is endlessly fascinating; no exhibit has attempted to interrelate these different schools since Manhattan's Museum of Modern Art's "Cubism and Abstract Art" in 1936. What makes the Buffalo survey particularly relevant to 1968 is the demonstration that the lineal descendants of constructivism are none other than the kinetic, op and minimal artists of today...