Word: nightclubs
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Markovic's favorite is now Marko, a race-car driver whom she calls "my wild young mustang." He owns a nightclub called Madona and by his own description loves loud music, women, cars and guns. His racing and gun-toting swagger seem in odd juxtaposition--or maybe not--to having missed out on military service when recruiters declared him mentally unstable. He is proud of his talent for crashing cars, however--30, at last count. "Daddy used to get angry until my 15th," Marko told the newsweekly Vreme. "And then he sort of gave...
...Chicago, the 1975 musical about a '20s nightclub floozy who becomes a celebrity after shooting her lover, doesn't really fall into that category. Artifacts from the '70s (the comeback of bell-bottoms notwithstanding) haven't aged long enough to evoke much nostalgia. What's more, many critics found Chicago too dark and cynical to begin with; though the show ran for two years, it failed to win a single Tony Award, shut out by that feel-good steamroller A Chorus Line...
Forty-two hours into the run, however, Dole was almost out of gas. After rolling through a Michigan truck stop, a Newark, New Jersey, diner and a Philadelphia nightclub, he found himself in Indianapolis, Indiana, on Saturday, free-associating at a noontime rally--from Eisenhower to the war on drugs, from flag burning to Indogate, from partial-birth abortion to Boutros Boutros-Ghali. After months in search of a coherent message, Dole had returned to the splintered themes and message fragments of the primaries. There was only one difference: in March, it was good enough...
...esque cut (I Do), the Grace of My Heart songs aren't primarily parodies; they're just good music. The pearl is God Give Me Strength, by Bacharach and Elvis Costello. Broody and complex, it suggests a tune Bacharach might have given Dionne Warwick to sing in an uptown nightclub at 3 a.m. "Burt consciously breaks rules with bar lines," says Costello. "He's breaking the meter, but it still feels natural. And he expresses feeling so much better than the trumped-up romantic ballads of today, where the emotions seem to have come off a shopping cart at Woolworth...
Nevertheless, some observations should be made. DeLima's roles in Harvard opera have always been the grandes dames -- the Countess in "Marriage of Figaro," and in "Die Fledermaus" as well. That is to say, she has a solid operatic voice, better for power than for subtlety. (Even in this nightclub act, she wore a high-waisted Empire dress of the type made famous by Emma Thompson and Gwyneth Paltrow, an inappropriate but curiously telling choice, as if to declare that she's better suited for more aristocratic pursuits...