Word: lyricizing
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Dates: during 1970-1979
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...created a choreography of the human condition. In classics like Modern Times, The Gold Rush, The Great Dictator, objects spoke out as never before: bread rolls became ballet slippers, a boot was transformed into a feast, a torn newspaper enjoyed a new career as a lace tablecloth. Such lyric moments lifted Chaplin to pantheon status. He became the friend of kings and critics. Einstein sought him out; Churchill praised him. George Bernard Shaw called him "the one genius created by the cinema." Millionaires welcomed Charlie into their homes and their ranks...
...badly aged Wunderkind died of a heart attack in a Times Square-area hotel while struggling downstairs with his garbage. The measure of Atlas' biography is that he does not exploit the implications of that curtain scene. With admirable restraint he suggests that Schwartz was a lyric poet who insisted on being an epic poet: given that divergence, tragedy was the only possible outcome...
...album's best track is "Hollywood." Look for this song to be blasting out of jukeboxes and car radios across America very soon. It quite literally has everything--a musical hook that won't quit; a lyric tag you won't be able to forget; strong, simple orchestration; and best of all, a sly and casual vocal with Scaggs fitting his voice to the lyrics as well as he's ever done. The song is fully within the "Silk Degrees" style, but it shows a sure touch, a confidence and sense of command that's nowhere in evidence...
Nightcaps--8:30 and 11:00 The Gondoliers--8:00 Next Move Revue--Next Move at 8 The Caretaker--Lyric at 8 Puntila and Matti--8:00 Mother Jones Jubalay--8:30 My Mother...My Son--8:08 Rosmersholm--8:00 Indian--8:00 Lost Cookies--Eliot Dining Hall at 8 Hedda Gabler--Winthrop JCR at 8 p.m. A Thousand Clowns--Leverett Old Library at 8 p.m. Comelot--Belmont Dramatic Club at 8 p.m. Nosh--Laurie Theater, Brandies, at 8:30 p.m. The Tempest--8:15 Rosencrantz & Guildenstern Are Dead--8:00 Scenes from The Comedy of Errors--Loeb...
MYSTERY DANCE," a one-and-a-half minute gem, is straight-ahead rock and roll, the kind of fast, urgent and purely visceral rock where the cleverness of the lyric is no more than a pleasant but totally superfluous surprise. Costello proves here that his singing is equal to the trickiest tempo and the rawest lyrics; his guitar playing is a wonder, a crashing solo in the best '50s tradition. "I'm Not Angry" gives further evidence of his instrumental strength; here too the guitar work is excellent, searing and fluid in a more contemporary style. It's a truly...