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Word: leonard (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

Rocking back and forth and waving his cigarette, Leonard Glaser tried last night "to give you a picture of a society that says, 'Undertaker wanted, no questions asked.' It stinketh." Glaser, National Representative of the Committee for Narcotics Reform, delivered a street-corner harangue at PBH, in which he jousted with American drugs laws and ended up lancing the world's sins...

Author: By Joel E. Cohen, | Title: Lenny Glaser Attacks Narcotics Laws | 4/22/1963 | See Source »

...Arthur J. Moss, Edward Duffle Jr. and Leonard M. Pagan of Los Angeles...

Author: /time Magazine | Title: Obstetrics: Cutting the Cord Too Soon | 4/19/1963 | See Source »

...Conversation. The first première, a Sonata for Clarinet and Piano, played by Benny Goodman and Leonard Bernstein, had the misfortune of being the marquee come-on for an all-Poulenc concert that included some vintage works-the beautiful Fiançailles pour Rire song cycle, the lovely a cappella Motets. The sonata's first movement is nervously melodic, the second drowsily romantic, the third merely gymnastic; nowhere does the music lead the two instruments into the tense conversation the form requires. The piano simply accompanies the clarinet, as in a coloratura song, and the clarinet does little...

Author: /time Magazine | Title: Composers: The Poulenc Puzzle | 4/19/1963 | See Source »

Enriched by such experimentation, the true spirit of jazz still belongs to its players, not to composers who study the form at the distance of a good conservatory. Leonard Bernstein has captured the sound of its blue notes-the appoggiatura tones that mimic the human voice in lament-and others have used its reiterated play-song melodies. But even among jazzmen, the only composer who has consistently written good jazz for orchestral players without merely repeating George Gershwin is Duke Ellington, and Ellington's "classical jazz" swings only because it is safe, sensual music. "We're going...

Author: /time Magazine | Title: Jazz: The Juilliard Blues | 4/19/1963 | See Source »

Ellington's compositions for jazz band and orchestra usually stay within a concerto grosso form that lets the band handle the jazz, while the orchestra plays its own fiddle. After a recent Ellington concert with the Detroit Symphony Orchestra, Jazz Critic Leonard Feather coolly dissected the Duke's Night Creatures concerto: "Ellington played jazz, and the orchestra played classical music. If you put rubies and diamonds on the same string, you don't have a necklace of novel stones-just diamonds and rubies...

Author: /time Magazine | Title: Jazz: The Juilliard Blues | 4/19/1963 | See Source »

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