Word: lightly
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Dates: during 1980-1989
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Lovedart takes third place, after the Tidal Waves, and hands the $75 check to his fiancee for their wedding fund. (They're a lip-sync couple. They met on the circuit, and their courtship included a lip-sync duet of Paradise by the Dashboard Light, which could loosely be described as a love song.) Asked about his future, Lovedart concedes that he's thought about putting together a portfolio and taking it to an agent. "But I don't know how I would handle the success." What he means is that he's already been on television...
...informs his spirit, "You may become part of the endless universe some call heaven, or you may live another life." He makes a delightful choice. Reincarnation would not seem a promising basis for a children's book, but Gerstein's fluid text and swirling, imaginative paintings are filled with light and reassurance. This is a work that will have many lives...
...through, the show carries the powerful conviction that the substance of Romantic thought was as much the invention of painters as of poets. Constable was Wordsworth's equal and ally, not his plagiarist, when he wrote that the light in his paintings "cannot be put out because it is the light of Nature -- the mother of all that is valuable in poetry, painting or anything else where an appeal to the soul is required." Natural vision, the sense of English terrain, exalted hopes of freedom, fear of the apocalyptic violence that lurked in human nature and, above all, a sense...
...nine uncorked bottles of California red wine, their labels obscured by foil wraps. The critic rinses the glasses with wine from three of the bottles. Then he pours an inch or so of red liquid from the first bottle into the first glass and holds it up to the light. "Good color," he says, "but that's rarely a problem with California wines." He swirls the glass fiercely for a second or two and inhales. "Not much wood in the nose," he observes, "but it's jammy, with plenty of fruit." He sips, noisily sloshes the wine along his tongue...
...cheap, gray cement-and-glass office boxes and grim "purpose-built" public housing that sprouted in craters left by German V-bombs. Squares and courtyards were bulldozed flat. Planners who felt that London was too dense and dark decided that new buildings should reach up high in search of light. They rose, in fact, to the 52-story, 600-ft. level of the NatWest Tower, dwarfing the 365-ft.-high St. Paul's dome. According to Gavin Stamp, architecture critic of the London Daily Telegraph, "Wren's skyline was lost, not owing to any conscious decision, but to a sort...