Word: partings
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Dates: during 1960-1969
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...musician, Williams is eclectic, spoofing and sponging from every bag. Classical Gas is, as he says, "part flamenco, part Flatt & Scruggs, part classical." It is written for six-and twelve-string guitars and a symphony orchestra of 37 pieces, but the result manages to preserve a certain purity. His Reading Matter is even plainer. Take, for example, his ode to the network censor, who, Williams writes...
...poetry seems painfully simple, it is explained in part by the fact that Mason taught himself "everything I have ever done. I spent a lot of time alone as a kid," he says, "and got to the point where I would try anything by myself. I just never considered that there were any limitations." He suspects that his parents' divorce, five years after he was born in Abilene, Texas, was behind that self-reliance. "My father was a Bible-Beltish tile setter who never drank or swore. My stepfather was a logger who gambled, drank, fought, and did just...
...largest "sunflower." But the fierce glare frustrated attempts to record the $5,000 gambol on film. Explains Williams, eyes aglow: "The idea wasn't to see it, really. The idea was for people to hear about it and say, 'Yes.' " It is all a part of the philosophy of joy, hymned in his Life Song...
...legal ways in which companies can juggle their books to inflate profits. The most common objectives are to camouflage a poor earnings performance, to help lift the price of common stock, and to promote-or fend off-mergers. Many conglomerate corporations owe their recent ascendancy at least in part to such practices. The trend has spread confusion among security analysts and investors; it has fired acrimonious debate among businessmen and accountants; it has provoked concern among regulatory authorities...
There was. "I was your typical working-class overachiever," says Barnes. Like soot and Dickens, he is a London slum product. His father, an ambulance driver, deserted Mum when Clive was seven. The brilliant, chunky lad played his part well in school; a scholarship helped him into Oxford's postwar meritocracy, along with Director Tony Richardson and Sunday Times Arts Columnist Alan Brien. As soon as Brien had a leg up on Fleet Street, he brought along his protégé. Barnes' reputation for fluency was instantly evidenced in music, drama and dance criticism."He just liked...