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Word: lovelies (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

Fleetwood Mac has often been called "the group of the '70s," and, listening to Tusk, it's not hard to see why. The songs, as usual, deal with personal themes of lost love and regained love; the group never opts for even the slightest bit of political or social commentary. While the forces of punk and disco explore the fringes of rock, Fleetwood Mac contentedly drifts with rock's mainstream. And it has paid off: phenomenal sales, constantly sold-out concerts, and almost universal acclaim by critics who never quite latched onto new wave...

Author: By Michael E. Silver, | Title: Driftwood of the '70s | 11/9/1979 | See Source »

...without doubt, the group's central figure and the moving force behind its latest effort. He wrote many of the songs on Tusk and is the lead singer in most of them. Buckingham's melodies best fit the Fleetwood Mac mold, with painfully banal lyrics such as: "You can love your brother but you can't walk out/someone ought to tell you what it's really all about." "That's all for everyone/that's all for me/I just need someone to satisfy...

Author: By Michael E. Silver, | Title: Driftwood of the '70s | 11/9/1979 | See Source »

...Christine McVie. Between the two a certain tension exists which keeps the group from sinking totally into the morass of '70s pop. Nicks plays the Looking for Mr. Goodbar-waif, on her eternal cruise for romantic fulfillment, while McVie acts The Unmarried Woman, imagining herself to be above love but actually despairing over her lack...

Author: By Michael E. Silver, | Title: Driftwood of the '70s | 11/9/1979 | See Source »

...instance, I don't think Fred Graham/Petruchio (Jim Goldstein) was done well at all. His voice rumbled flatly and his erratic comic timing bothered me. But even more important, he failed to understand Fred's soft side and explore Fred's love for Lilli. This one-dimensional portrayal of the lead, I think, weakened the show...

Author: By David Frankel, | Title: Strange, Dear, But True, Dear | 11/8/1979 | See Source »

...role is tackled by full-figured actresses with talent less than proportional to their physical attributes. Happily, Shallo does not fit that mold. Rather than pigeon-hole Martha as an aging liquor-ridden seductress, Shallo adds depth to the character by emphasizing her sense of humor and her love of laughter. Martha would like to be happy, but she seems unable. It is this that makes her pathetic rather than ridiculous...

Author: By Amy R. Gutman, | Title: Treading the Fine Line Between Illusion and Reality | 11/8/1979 | See Source »

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