Word: mirrored
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Dates: during 1990-1999
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Though he claims to chafe when his competitors make cracks about his "rug merchant" bargaining methods and his "Mediterranean" temperament, Hayek nonetheless displays what he describes as "an exaggerated amount of self- confidence. I want to look in my mirror every morning and say, 'You're great.' " His strength as a businessman, Hayek says, is that he has retained "the fantasy of a six-year-old child. If you can keep and use the curiosity of a child, you can only improve everything around you." He describes his talent as being able to spot new ways of selling "emotional" products...
...seriousness and intelligence of its programs and the fact that the ensemble comes first. While Baryshnikov may have solos, he appears in other dances -- Signals, Lilies -- in small roles. The audience leaves feeling that it has had a revealing glimpse into modern dance, not into a superstar's mirror...
...love of a single woman. This similarity corresponds to a similarity in the personalities of Irene and Sophie. Irene assert during one of her first meetings with Sophie that "Your eyes show you can be very tough. That doesn't bother me; I see the same look in the mirror every morning." The face of the individual, important throughout, here forces audience and characters to recognize internal likenesses. Indeed, one is made to realize throughout the movie that, had circumstances been altered, and Sophie endowed with a more appealing visage, she would not have different significantly from Irene...
Throughout the album, McLachlan relies on the instrumentals of Pierre Marchand as the other main component evident on "Ice," where Marchand's bass and the saxophone of Michel Dubeau play mirror to McLachlan's voice. Marchand's support is also key on "Elsewhere," a beautiful declaration of the power of love, with the line "I believe this is heaven to no one else but me" multi-tracked over McLachlan's own vocal harmonies, guitars and piano. It is Marchand who adds the synthesizer and drum machines that round out McLachlan's sound, giving her the freedom to engage...
Smith burst into the national consciousness with Fires in the Mirror, which played off-Broadway and around the U.S., became a finalist for the 1993 Pulitzer Prize in drama and was adapted for PBS. That piece took on a confined conflict between blacks and Jews in Brooklyn. Her new Twilight tackles the complex sociology of the Los Angeles riots. After a spellbinding debut there, it has been revised and restaged for an off-Broadway run starting next week, with a transfer to Broadway planned for April...