Word: modelled
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Dates: during 1950-1959
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Swedish Compliments. These days were wonderful fun, and Rossby's weather system worked. It became the model for use by fast-spreading U.S. airlines. When not too busy, Rossby kept up with the hard-boiled pilots in jazz-age drinking and other festivities. Most of them envied his way with women. "It was his Swedish manners," says one of his friends of those days. "He'd hold the hand of a nightclub hat-check girl for several minutes, ladling out those Swedish compliments. If it was any other guy, the girl would have called the manager...
Manhattan Composer Henry Brant is flute-prone. When he spots a vintage model he has never seen before, his eyes glitter with excitement and he examines the old vented tube with the fervor of a doctor hunting a symptom. "Wow," he will say in wonderment. "Look at that plumbing!" Then he places mouthpiece to lip and, if the instrument is not too leaky, ripples out a modernist roulade. One of Composer Brant's finest works is a fond flute dream called Angels and Devils, a concerto for flute and flute orchestra. Now it is on records, soloed by Frederick...
...Italy's Alberto Moravia, the most important thing about La Romana is that she is a dark beauty who loves men and money. In the movie version, the most important thing about her is that she is played by Gina Lollobrigida. Gina's mother, an impoverished ex-model, leads her daughter into her old profession, hoping that it will lead Gina into an older and more profitable one. Mother proudly proclaims that "there was not a figure like [Gina's] in all Rome." As the movie opens, Gina strips in an artist's studio and poses...
...Shakespeare's text, has no trick lighting, and permits just one intermission. Even the set, which was designed by John Ratte, suggests the Globe Playhouse, since it consists of little more than two platforms connected by stairways. This setting, which is of course less complex than its Elizabethan model, presents its own problem to the director, who must compress the play's flow into two acting areas in place of the original six. Aaron's solution is remarkable for its ingenuity. He has contrived to inject a great, though not excessive, amount of movement into each scene, and the transitions...
Citing many funny examples, Panofsky explained his 'law of disjunction': "Whenever in the high or later Middle Ages a work of art borrows the form of a classical model, this form is always presented in a non-classical image." He discussed the Mithras statue as one of many "instances which have been introduced as refuting my good and cherished 'law of disjunction...