Word: moods
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Dates: during 1970-1979
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...second style is represented in "Deserts," a duo mime with a surrealist tone. The piece is moribund in mood, somewhat reminiscent of Beckett. It is echoed by the somber song of a cello on stage, and two clarinets serenading one another from the balconies of the hall. In another piece, Kyr also uses an unusual spatial arrangement of sound. "Struggles in Passing," a dance mime about the nature of work, is accompanied both by a tape produced using subway noises and conversations, and by the ensemble of flute, tow clarinets, celesta and piano. The sounds of the instruments filter...
...Misbehavin' attempts to recreate the atmosphere of a jumping nightspot, like the Cotton Club, in the Harlem of the 1930s. The performers belt out the songs, pushing each other out of the spotlight in mock rivalry. If the mood suits them, they'll spring to their feet to tap out a furious rhythm, or languidly drape themselves across the piano-player on the stage, who frequently joins in the refrain. On more than one number, they exhort the audience to join...
...moment, American officials were pleasantly impressed by how smoothly Teng's visit had gone, and Teng Hsiao-p'ing, in his reserved way, seemed to share the mood of jubilation. Said he: "The honeymoon will continue." It was a beguiling prediction, for Teng is a beguiling man, but such prospects should not cause Americans to lose sight of their basic interests...
What a time, indeed. The current ballad by Rhodesian Singer Clem Tholet reflected the country's mood as Tholet's father-in-law, who happens to be Rhodesian Prime Minister Ian Smith, led his white countrymen one step closer to black majority rule. Last week, at Smith's urging, white Rhodesians went to the polls to approve by a wide margin a new constitution under which rule is to pass from the country's 240,000 whites to its 6.4 million blacks. The transition will take place after the whites, along with 2.8 million black voters...
...from Jailhouse Rock. In Elvis!, directed by John Carpenter and written by Anthony Lawrence, he is also treated well but the shadows deepen even further. He becomes the classic figure of American success: famous, frightened and mother-fixated. The movie catches Presley's suicidal insulation, the shifts of mood and all his uncertainty, manages to make his success seem ultimately stultifying without ever inviting pity. Just as important, he is not treated either as a cultural icon or as some sort of bloated, junked-up superstar, but simply as he was, a great singer whose life grew beyond...