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...Ruttenstein, fashion director at Bloomingdale's, observes: "Norma Kamali took an obvious American idiom and made it sophisticated fashion. The woman who used to wear a suit and blouse now wears her sweats." And Bergdorf Goodman's Executive Vice President Dawn Mello proclaims: "Norma is queen of the sweatshirt. It's like when jeans started. Norma is the new Levi Strauss...

Author: /time Magazine | Title: Living: The Hot-Selling Locker Room Look | 10/5/1981 | See Source »

Harbison writes in a complex yet easily approachable idiom that represents a bridge between postwar formalism and the new conservatism of the past decade. As a young man in the '60s, he was strongly influenced by a pervasive emphasis on form. Music was supposed to be highly organized. "Gestures," "events" and "new sounds," to use the jargon of the period, preoccupied composers as they sought new ways of structuring pieces-often forgetting that music should appeal to more than the intellect. Harbison struggled to combine innovative musical architecture with his lifelong love of melody...

Author: /time Magazine | Title: Music: Composer with a Hot Hand | 8/24/1981 | See Source »

This production by the New York Shakespeare Festival at the Delacorte Theater in Central Park is silly, vulgar and achingly dull. It is a shameless assault on Shakespeare, couched in the parched emotional idiom of the cool urban disco jitters. If the playgoers had to pay anything for their seats, they would probably storm the box office demanding refunds from Producer Joseph Papp...

Author: /time Magazine | Title: Theater: Isle of Blight | 7/20/1981 | See Source »

...Venice. History's first great opera, Poppea is infrequently performed not because of the plot, which set a high standard of treachery and lubricity, but because of the special demands of Baroque convention, which included the casting of castrati in principal roles. Further, the musical idiom of early 17th century opera sounds strange to audiences accustomed to the ripe lyricism of Bellini, Verdi and Puccini...

Author: /time Magazine | Title: Music: Hearing the Sounds of the Past | 6/8/1981 | See Source »

...chop some. The production was, in the best sense, experimental; Breuer zeroed in on the essence of the myth Wedekind was working out in his plays--the rise and fall of a wild beast of sex--and tried to find a contemporary stage technology and idiom to match. He found it in touches like giant close-up projections of Lulu's eyeballs or skin, a luxuriant fur rug on which Lulu lounged like a restless tiger, and a high-tech set with mikes and floodlights that looked more like a recording studio than a stage. Breuer took plenty of license...

Author: By Scott A. Rosenberg, | Title: ART in Retrospect: Textual Ethics | 6/3/1981 | See Source »

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