Word: neither
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Dates: during 1990-1999
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Karl Ritzler, however, has some retirement advice worth repeating: "Neither of my parents lived to be 60. I want to end the grind of the workday and do more of the things I enjoy...I may even work at the local Wal-Mart," he says with a laugh before adding, "This is a learning experience; nothing is set in stone." Until you are--but that's an entirely different kind of retirement...
Just as folk has handled even its most disconnected moments, Club Passim quietly thrives in the Palmer Street alley, watching Harvard Square grow up and retaliate against itself. Its folk platform has become "Americana," a broad, historically oriented aesthetic that unfortunately seems neither to play to the young nor to exhort the masses. The emcee and speakers at Passim's 40th anniversary concert emphasized that the club was "as good as it ever was," yet this impulse to confirm folk's endurance suggests insecurity over the more insular, less underground but perhaps less relevant position of Americana folk music today...
...someone why your knowledge of Wittgenstein's philosophy of language has made you a better marketer. Or why a career in business is the natural extension of your love of literature. Or why a fledgling academic needs management skills. My interviewers weren't buying it, and more importantly, neither...
...autobiographical in the sense that any one of the characters represented a totality of my Yeshiva experience. When I was in Yeshiva, I was neither one of the "stark" guys, one of the guys on the inside, who was fiercely loyal to the rabbis and their ideas, nor was I one of the parking lot guys who stood on the outside looking in and sort of denigrating what was going on inside. I was actually a personality that I didn't really show at all, the person who was very committed and devoted and stayed on the inside...
...Jerusalem Disease was neither wonderfully performed nor exceptionally well-written; instead it was a very watcheable soap-opera: "Dawson's Creek" featuring skinny guys in tassel loafers. In fine post-adolescent form, the play melodramatizes the trivial and passes lightly over the truly significant. It is hard to imagine anybody in the audience actually caring about the conflicts the play poses; even the protagonists seem strangely nonchalant about what would strike most mature people as the play's central conflict--an alleged teenage suicide--preferring instead to fight about who is dating whom and what pain is caused...