Word: knacks
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Dates: during 1960-1969
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...British Actor Michael Craw ford, knockabout champ of Broadway's boffo Black Comedy, has had enough movie successes (including The Knack and The Jokers) to be able to say with justifiable immodesty: "I expect to see Fame arriving next week in a little, neatly labeled package." The only thing that could waylay Fame would be for Crawford himself to wind up prematurely in a neatly labeled coffin...
Stein, a British doctor's son with a degree in French literature from the University of Paris, had no formal art training. According to the D.A., he discovered his knack for successful copying in 1961 when he limned a Picasso drawing, signed it and sold it to a Paris art dealer; he followed with two small Chagall gouaches, which he sold in London for $4,000 each. Stein arrived in the U.S. two years ago, and soon set up in a stylish Park Avenue gallery-apartment, where he had a number of genuine Chagalls and Picassos...
Fire & Flair. Cookie and Pinky have a knack for putting their personalities into their playing-a surprising achievement at an age when most young musicians merely display a coldly glittering technique. Cookie's performance of Bruch and Mozart was sensitive and finely shaded; in passages of Beethoven and Saint-Saens she showed grit and fire as well. Pinky, tapping his feet and swaying into a sort of golfer's follow-through, plunged with intuitive flair and gusto into music by Vivaldi, Bach, Mozart and Tchaikovsky, and his broad, compelling tone filled up the hall...
...disassociates him from the proceedings: a visual sigh suggesting that this dame is boring the life out of him, too; or a shake of the head, wondering where the devil this geek got all that garbage. He is often at his best when his material is worst-a handy knack for a man who has to come up with 60 laughs a minute. When a gag clunks to the floor, he'll say: "Never buy jokes from people on streets. Give 'em a quarter but never buy a joke from...
...East Berlin, June, 1953. Brecht, and here Plebeians tells no lies, has transfigured Shakespeare's tragedy into a didactic tract for revolution. Shakespeare's silly tribunes of the people become radical ideologues; Coriolanus -- the "colossal" as he is described in Plebeians -- is reduced to a despot with a certain knack for winning battles. And quite as much as Brecht tampered with Shakespeare, Grass has tampered with Brecht. He has made him a patronizing, cynical esthete resigned to the failure of revolution in the world at large, yet committed to its success on stage -- the success of his own peculiar brand...