Word: panning
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Dates: during 1990-1999
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...rear of the stage, a strange mix of various percussion instruments grew and changed throughout the night. In the hands of Jeffrey Haynes, everything from a steel pan to congas added tastes of Africa and the Caribbean at will, and he masterfully integrated his beats with sometimes-jazz, sometimes-folk, sometimes-blues tones around him. Even with a drummer and percussionist playing simultaneously, the sounds were never muddled and Wilson's voice was never muscled into the background...
Chen studied filmmaking at California State University at Northridge and then--lightning strikes again--was seen crossing a parking lot by mogul Dino De Laurentiis. Instantly she had the lead Asian role in his 1985 TV saga Tai-Pan. For more than a decade, Chen was excellent in good movies and amusing in bad ones. In Stanley Kwan's Red Rose, White Rose she is a figure of eros and pathos, driving her lover quietly nuts with her desperate vitality; the turn won her a Hong Kong Film Critics award. Back in the West, she copped a less prestigious prize...
...finally able to escape into the quiet streets of Boston to assuage the ringing in my poor assaulted ears. Thanks to a street musician who plucked a bare tune on his banjo and soothed me with his baritone, I was relieved. Jonny Lang is no flash in the pan as a musician, but his flashy stage presence definitely needs some lubrication...
...Untitled (Sausage and Potatoes), Wols takes his subjects out of our world, while retaining their physical presence (the shine of an over boiled potato, the turgid undulations of a bean's matte surface) and signifiers of the setting (the rounded edge of a table, the gleam of a pan's lid). More alive than the subjects of his portraits, the beans commune and swarm, the potatoes and sausage hold a brief rapport. He destroys the world we know these objects from and conjures another in its place. The foodstuffs occupy a distinct and independent reality: familiar, yet alien...
...Beans) and Untitled (Sausage and Potatoes), Wols takes his subjects out of our world, while retaining their physical presence (the shine of an overboiled potato, the turgid undulations of a bean's matte surface) and signifiers of the setting (the rounded edge of a table, the gleam of a pan's lid). More alive than the subjects of his portraits, the beans commune and swarm, the potatoes and sausage hold a brief rapport. He destroys the world we know these objects from and conjures another in its place. The foodstuffs occupy a distinct and independent reality: familiar, yet alien...