Word: lyricizing
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Dates: during 1970-1979
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...music of the Roche sisters is startling, lacerating and amusing, pretty enough to sing along with, sly enough to linger. It restores a personal, lyric dimension to folk music, cuts through the smugness and self-absorption that have characterized it for too long. The Roches share a kind of skeptical innocence that is delicate but far from fragile. Maggie and Terre Roche flirted with fame once before and have logged a fair portion of time in the psychic danger zone. "We went so far out there/ Everybody got scared," Terre Roche wrote in one song...
Barbara Tuchman's lament is a well-intentioned reminder of our reluctance to honor our artists and thinkers. But the comparison is unfortunate. Twain was a humorist and satirist who was as much taken in by the Gilded Age as he was critical of it; Hugo was a lyric poet and epic novelist-and, what's more, a political hero. His exile was a symbol of opposition to tyranny...
...superbly) that held the audience's attention completely--and having got that attention, proceeded to milk it with considerable charm--none more so than Maggie-Meg, of course. By this energy and charisma, they helped us pass by the rehashed Coca-Cola advertisement music, a fair number of trite lyrics and a structure which threatened to be as repetitious as Ellington. Part of this danger was averted by the element of directionality introduced--first, there was a temporal narrative: the growing up from adolescence of five girls. Although adolescent literature is usually of interest only to adolescents, even desperately mature...
...theater. Yet as Lottman shows, Camus produced no more major work. He retreated to the sanctity of his home, to Francine and their twins, and was at work on a new novel, The First Man, when he was suddenly killed. He was eulogized every where; even Sartre wrote a lyric tribute...
...Palace brings dramatic continuity to a genre (vaudeville) which often suffers from the lack of it. The songs, the dialogue, and even the dancing help create a detailed and remarkably consistent portrait of Masiell. Born in Brooklyn, Masiell was raised in the shadow of his father, a lyric tenor, and adulates him to this day, calling him "kind of an early Italian Tom Jones." At least two songs, Io e Te" and Hey Poppa," reflect his father's influence, and while their sentimentality mars the fluency of the program a bit, Masiell's ever-emerging humanity and impassioned delivery thoroughly...