Word: leatherous
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Dates: during 1970-1979
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...play the piano any more." That remark was pure melodrama. After listening to Bernstein's brief run-through, the students tried again, and now they brought the piece to life. Satisfied, the visiting professor dropped back to his seat on the floor, extracted a cigarette from a leather case, and listened to a student wind quintet attack Irving Fine's Partita. Halfway through the first movement, Bernstein leaped to his feet again. "Tune up!" he cried. "My God, tune up!" While the musicians trembled, he went on: "This piece is whimsical. It's full of surprises...
...storm, and warped as the wooden floor of the Maine antique shop where I bought it; a first edition of Ruskin's Unto This Last, small as a wallet, the cardboard covers exposed like a dilapidated wall; d'Annuzio's poems (1901), elegant in a spine of maroon ribbed leather; Edmund Gosse's life of Coventry Patmore, also a first edition; Arthur Symons' London: A Book of Aspects, "privately printed for Edmund D. Brooks and his friends" in Minneapolis (1908), in which the pages remain brittle as parchment; and a Bohn's Standard Library Edition of Eckermann's Conversations...
...course Ike would not get away with any of this if he did not have his own immense style. He stands there glowing in his tan jumpsuit and ocher-print blazer and patent leather boots and says, "I want you to be proud of the way I look, because you spend $1,000 a week* to buy my clothes. I go down to Tiffany's, and these rings and things [he is wearing two big gold rings plastered with diamonds, a watch to match and an oversized topaz] just crawl up on my hands." Then it's donation...
Laurence Harvey, who once played the Manchurian candidate, appears here as a Moscow commissar, sporting the kind of heavy leather trench coat that suggests Slavic villainy the way a black stetson in a western signals evil. He takes special delight in tor turing Jews. After inflicting one especially impassioned beating, Harvey makes his way out of the traditionally dank subterranean cell as an awestruck underling inquires, "What now? Are you going back to the office...
...Hoss is shivering inside his black leather. Unbound by the system or the code, "gypsy" mavericks are working the territory. In Act II, Hoss is challenged by a gypsy named Crow (Mark Metcalf). They engage in a sacrificial stomping dance entangled in electric cords and thrust microphones. It is part musical cutting session, part machine-gun duel of far-out words, and it is as chillingly old as a tribal rite in which the young warrior snatches control from the aging patriarch. The language varies between wild incomprehensibility and allusive symbolism. Crow, for instance, calls Hoss, "Feathers," meaning horse feathers...