Word: lessness
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Dates: during 1960-1969
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...coin box or stuff the coin chute with thin pieces of paper and after several would-be callers have dropped in their coins, retrieve the money. Last year one thief admitted that he habitually got into 20 to 30 pay phones a day and earned $20,000 annually. Less sophisticated professionals often smash the telephones or rip them out and carry them away. Plain spiteful vandalism also accounts for an increasing number of broken phones. Teen-agers rip out wires or steal receivers and dials just for perverse fun or an adolescent sign of protest. Some psychologists see similarities between...
...interesting restatement." The reviewers are correct, she realizes, and it seems to her that her career is over. A vacation with her husband is painful. She refuses to swim. "An old man's body, I said to myself, watching him splash about in the water, is after all less ghastly than an old woman...
...joys of AIR is that it exists in the senses and the emotions. It does not have a message or need a message, because it is its own message. Peter Ivers' music fits the program brilliantly, and the lighting--by Alessandro Vitellie, Ken Chang, and Richard Strother--is nothing less than fantastic. There are times--as in the second movement when a violent, fiery red light floods the stage, then yields suddenly to a gaunt, blue, empty light--when the light seems like an ether in which the dancers exists, so closely a part of their dance, that they...
...PROGRAM is short, ending around ten, and the fourth movement--air--is less than ten minutes long. But it is the show's highlight. A cross-stage projection of red and blue light allows the two dancers--Miss Crouse and Miss Hurst--to use the depth of the stage in an extraordinary way. They move their faces and bodies in and out of the light, being and not being. This movement's score consists of music from the other three movements, recorded in an echo chamber, wailing back and forth across the stage like the turning of the spheres...
...show and musical instruments in this way. "You can think of lights and the tempo of changing lights and the tempo of changing lights as providing the rhythm, the liquids correpsond to the drums, the slides to guitar and the films to lyrics." And indeed the parallels more or less work. The Road's members are insistent that they have an edge on most light shows, which are pre-programmed on a computer, because they exert human control over their components and so are free to improvise in the attempt to capture the emotional and musical impact of whatever...