Word: lyric
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Dates: during 1960-1969
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...angular, hard-rock quality that pointed up its bitter message: "Do you think that all colored people are just second-class fools? /Mr. Backlash, I'm gonna leave you with the blues." Billy Taylor's / Wish I Knew was hand-clapping gospel at its best. Sample lyric: / wish. I knew how it would feel to be free, / wish I could break all the chains...
...Story or Cabaret. A number early in the picture shows the dance-hall ladies, drenched in make-up and neon light, as they coldly ask each "big spender" to come on to the dance floor for "fun, laughs, and a good time." The song, full of cynical Dorothy Fields lyric, brings home in nightmarish tones that world where money turns sex into the sweaty throbbing of the mindless body...
Brecht lived by what he always pretended to suppress: his sentiment bordering on sentimentality, the lyric-cynic play of his heart and mind, a vein of mordant humor, and his drink-drenched ability to keep one eye on the dawn and the other on the clogged gutter of life. He claimed that the greatest single influence on his prose was the Lutheran Bible, and there was something of the masked disciple of Christ in him. His Communism was basically a desire to multiply the loaves and fishes for the multitude...
...preliminary, Schoenberg's late work, A Survivor from Warsaw (1946) for male chorus, narrator and orchestra was performed. In this work Schoenberg strikes a medium between lyric singing and his own device of sprechstimme, by setting his expressionist text to notes of various vertical distances above and below a reference line. The work, described as "savage" in the program notes but bordering on melodrama, describes Schoenberg's raging desperateness as the Jews flee Nazist Warsaw, and his resumption of the Jewish faith in the face of this tragic modern Diaspora. This profound personal utterance seems to suffer from the same...
...number of legitimate laughs, McNally tries to be momentous in a conclusion about the necessity of love, but that message is articulated every week on Laugh-In: "Whatever turns you on . . ." Night is by Leonard Melfi, considered one of off-Broadway's emerging playwrights. At a pseudo-lyric funeral, a group mourns the loss of their blowhard leader. A new con-mannerist appears, spouting worthless dreams, and they all follow him off in a witless parody of resurrection...