Word: matters
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Dates: during 1990-1999
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...Bech and his worldmediated through Bech; we experience his doubt andself-deprecating double talk from his own perch, aplace oddly, humorously distanced from himself, asthought the life he's constantly dissecting andrevising were someone else's Vacillating betweenmild self-contempt and self-importance, Bechmostly feels that it doesn't matter much. Hefloats beatifically from party to memorial party,counting the boob jobs and Herrera skirts andwondering absently whether he looks as bad as dohis aging colleagues as they jostle and comparehonors...
...Italian or Jewish, you can't possibly understand the needs and intricacies of a particular group, so you might as well not even try--this is the self-defeating implication of the current exclusion of other groups from an ethnic community. At the festival, however, it didn't matter if you were Jewish or not. Just as we all share in the archetypes presented in the films at the festival, so we can all share in a knowledge and appreciation of the particularities of Jewish culture. The festival recast ethnic community not as a simple enclave of people whose ancestors...
Today, one of the first principles of our democracy is that no subgroup of the population, no matter how talented or wise, will make better decisions more frequently than the nation as a whole. We recognize the right of all individuals to participate in the governing process, to help choose the laws under which they must live. Possession of marijuana, though an act which may deserve punishment, does not merit permanent severance from the body politic...
...beginning of the Beethoven Sonata in G (Op. 31 No. 1) Ohlsson's fingerwork was troublingly sloppy, at least compared to his voicing; but this may have been a matter of adjusting to the piano. He took the opening allegro a good sight slower than the indicated vivace, but used the broadened canvas to play around with all its quirky syncopations...
...Liszt sonata was another matter. Though not obvious at first, Ohlsson's approach to its many challenges was informed by a tight sense of musical architecture: emerging from all the kleptomaniacal rubati and enigmatic autofermatas was a storyteller's confidence. His fingerings were uncommon, his attack was lively bordering on sadistic, and he seemed to be thinking orchestrally all the way. Here if anywhere, "large and in charge" was the apt phrase--the big man put a whole register in the bass out of tune. Blending the bombastic and the priestly, Ohlsson made the 1854 warhorse sound fresh...