Word: fin
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Dates: during 1970-1979
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...vivace as the music he has written for every mode from concert hall to films over half a century. Tendered a birthday party at Brentano's bookstore in Manhattan, Thomson ignored the limousine that had been sent to fetch him from his apartment in the fin de siècle Chelsea Hotel and marched to the festivities on his own. He also chose stairs instead of an elevator and a hard chair rather than a soft one, but he did consent to pose at the piano with his cake and a group of fellow musicians that included Conductor Andr...
...historical necessity. Almost alone, he bridged the old and new centuries. He was at home in the twilight romanticism of the 1890s. But he was also one of the first to recognize the vigorous new iconoclasts, whose art and music would soon sweep away the lingering shades of the fin...
...hours, the stalemate continued. Every time the whaler angled close enough to the fins for a shot, one of Greenpeace's four inflatables would dodge into its way. The contemporary Ahab was forced to hold his fire lest he hit the protesters. Finally, after two misses, the captain got off his shot when one fin surfaced directly in front of the catch boat. It was a painfully slow demise for the beast; to minimize the danger to the protesters, Eythorsson had removed the explosive cap from the harpoon. Cabled TIME Correspondent Erik Amfitheatrof of the grisly action: "The creature...
...usual, the fin was pumped with air and towed to the Icelandic whaling station 30 miles from Reykjavik to be carved up. Back on shore, Greenpeace Leader David McTaggart, 47, a dedicated environmentalist who had sailed a ketch into France's South Pacific nuclear proving grounds in an effort to halt atomic testing, addressed his companions: "What we saw today was disgusting ... disgusting. The whale is a mammal. It makes love. It is warm-blooded. It has been here 40 million years longer than we have...
...brutal fate of the culture they discuss and, as art history, are not pitched at the level of scholarship a European audience feels entitled to. But it is the work that counts, and must be seen, in all its energy and episodic magnificence: a vast panorama, from the haunted fin-de-siècle symbolist canvases of Mikhail Vrubel to the last attempts, by painters like Alexander Deineka, to combine a social message with a post-cubist idiom before the freeze...