Word: parlorized
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...that gloom to a six-room, rented house that he named "Bleakmoore," evoking echoes of Emily Bronte. But he is by no means a recluse. At least once a month he invites four or five like-minded friends over for a "banquet" of turkey cooked on a 1915-vintage parlor stove, plays the piano (Chopin is his favorite composer) for them or else puts some of his 3,500 Golden Oldie records on the gramophone. A painstaking craftsman who charges up to $1,500 to recondition an old player piano and often works into the small hours...
...FANTOME DE LA LIBERTE, by Luis Bufiuel is an antic series of absurdist parlor tricks. All the surreal illusions are linked rather casually by the theme of freedom, by the lunatic effects caused by man's repressive passion for order...
...transfers from the original recordings, careful attention was paid to correct pitch, a task necessary because the speed of the old 78s varied among individual records. The collection, covering the years from 1906 to 1920, consists mainly of Italian and French opera and salon music, with half a dozen parlor songs sung approximately in English. "Vecchia zimarra, senti" the bass "Coat Song" from La Boheme, and "Magische Note," an aria from Goldmark's Queen of Sheba that contains a rare recorded example of Caruso's using falsetto, are the most unusual items. A pair of "Celeste Aidas...
Segal's is the more kinetic performance. He plays a magazine writer named Bill Denny, separated from his wife, living out a drifting fantasy of risk and destruction. He hooks up with Gould at a Vegas poker parlor, and the two of them get their small winnings beaten out of them in a fast parking-lot brawl. From then on they become accomplices in misfortune. Gould inhabits some sort of foggy half-world of the hard scuffle, keeping company with a couple of soft-core hookers who serve beer and Fruit Loops for breakfast. Segal likes the style, likes...
...really aces actor" in the early 1960s, when Jack Nicholson was gracing drive-in screens in horror movies. In writing the story, Cocks drew on correspondents' files and the research aid of Pat Gordon, taking time out for a few quick antiaircraft battles at his favorite pinball parlor. The writing done, he turned his manuscript over to Senior Editor Martha Duffy, who asked Cocks to wait while she gave his piece a once-over reading. "I'm going to the movies," he announced. "You're what?" said Duffy. "To the movies," repeated Cocks, already...