Word: master
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Dates: during 1960-1969
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...last Tuesday's concert in Boston the Who introduced a Mose Allison song, 'Young Man Blues' saying that it was one of the things they used to do when they were first formed in 1964 and it had led them to music they were now making. Daltrey mimicked his master's voice singing each line with the rest of the group quiet--for Moon, Townshend and Entwistle to erupt, between lines, into inspired instrumental dashes. Towards the end of the song Townshend took over and played lovely near-classic blues spiced as it was with the ever-present Who twist...
...leave in haste. Townshend and company recreate the journey home in exquisite detail, the swish of the sails, the churning of the sea past the boat, the receding fear and expectant joy as the motorboat takes them ashore, where they vow not to go back ever dismissing their master as 'crazy anyway'. The last verse of the song is a repetition of the instructions...
WAGNER: OVERTURES TO THE FLYING DUTCHMAN, TANNHAUSER, TRISTAN AND ISOLDE, DIE MEISTERSINGER (RCA Victor). These preludes are classics, available in many different interpretations. Here Erich Leinsdorf leads the Boston Symphony with intelligence and vigor. A formidable protege of Toscanini's, Leinsdorf lacks the master's soul, and admirers of the more reflective Wagnerian school may find his performance somewhat grating. Yet those who like their Wagner with discipline and drive will enjoy the record...
After a tour in the Navy at the end of World War II, Evans picked up bachelor's and master's degrees in engineering from the University of Washington. Recalled to duty as a lieutenant in 1951, he served as aide to Admiral William K. Mendenhall, the Navy's representative on the Military Armistice Commission at Panmunjom. When Evans told his boss he aimed to quit the Navy and run for office, Mendenhall urged him to stay on. As the now retired admiral recalls, Evans replied: "Well, the political business at home is a dirty business, and I think...
...experimentally with a daring inconceivable in plainer films. Themes and preoccupations as serious as these would be substantially unbearable treated in the context of everyday life--all films would resemble Judgment At Nuremberg. And, just as Poe and Hawthorne made their statements through the heightened reality of romance, the master film-makers are invariably liberated by the specialized contexts and specific characteristics of their chosen genres...