Word: low-key
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...largeness of impulse--Lowell's ambition to respond to so many happenings--results in uneven inspiration. Some, the beautiful Father and Sons poem for Alan Tate, the Writers series, Caracas, some of the Dream poems, others--are among Lowell's most brilliant. The three poems to R.F.K. seem low-key and common at first-then resonant and vital. The Mexico series on the whole is mediocre--although it has brilliant lines and cadences. Lowell's use of the sonnet to frame his vision emphasizes the uneven inspiration. A few poems are written long to fulfill the form and must take...
When Apollo 10 streaked smoothly on its course toward the moon last week, it did so with a difference. Paul Haney, for six years the cool and detached "voice" of Gemini and Apollo, was gone. His replacement on the air was Jack Riley, another laconic, low-key newsman, who sees his job not so much "as an announcer but as a supplier of information to the news media...
...That low-key demonstration last week was the latest incident in a persistent controversy over the News' insistence that the race of those who commit crimes is a proper matter for public print. In a crusade against street crime, the News runs a daily box score of such attacks and provides details of the worst of them in adjoining stories that identify the race of the assailants. Most of them are Negroes. The paper's critics contend that the crusade overplays black crime and feeds racial hatreds. The protesters cite front-page stories that appeared in the News...
...rock on Nashville Skyline is not as tense and irascible as the music on Blonde on Blonde was. This is no accident. Bob Dylan's sense of fitting the music to the words and the general mood of an album has not deserted him. Since the lyrics are low-key and gentle the music is appropriately smooth rock and roll. In turn this configuration of words and music, I thing, determined Dylan's use of his voice on the album (which as everyone knows by now, is radically different from the grating, flaring voice we used to recognize as Dylan...
...boundaries between the various topics of conversation. Hardly talkative to begin with, they said whatever they needed as tersely as possible. Even when Tim was filming later on, he never raised his voice. I wondered whether he was merely tired after six weeks of shooting. Or whether his low-key approach to a project as emotionally charged as the making of Eleanora was an indication of something else--possibly some hidden turmoil, even some fear, that he could not let erupt...