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Word: periodic (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...period wallowing in the grotesque and in voyeuristic escapism, it follows that Mia Farrow would succeed as a flower-nibbling, pseudo-mystical boy-girl and that Hoffman would see a psychoanalyst five days a week, no doubt to discuss his anxieties about the impending 1040. The sight of Farrow and Dustin salting down the scratch, the former looking like a sand-kicked 97-lb. weakling in Rosemary's Baby and the latter as a watered-down Holden Caulfield in The Graduate, is enough to confirm to this aging mind that when eccentricity and grotesquerie become the prime movers...

Author: /time Magazine | Title: Letters: Feb. 21, 1969 | 2/21/1969 | See Source »

Sullivan and Storer teamed up again six minutes later--this time assisting Red Jahncke, whose score gave the Yardlings a two-point edge. Defenseman Don Olson slapped the final tally of the period by Merrimack goalie Fred Guanci, with Sullivan again assisting...

Author: NO WRITER ATTRIBUTED | Title: Freshmen Six Romps, 8-0; Thinclads Triumph, 76-28 | 2/20/1969 | See Source »

Merrimack slowed the freshman attack in the second period, but Andy Burns, assisted by Bob Havern and Cal Warren, managed to score on a power play...

Author: NO WRITER ATTRIBUTED | Title: Freshmen Six Romps, 8-0; Thinclads Triumph, 76-28 | 2/20/1969 | See Source »

...Crimson offense again took charge in the final period. Howie McAlpine whistled a slap shot past Guanci, and one one minute later Dave Cavanagh scored with an assist by Dennis Sullivan. Harvard tallied its seventh goal on a power play led by Burnes at 16:56, and with one minute to play Bill Holmes faked out Guanci on the left side of the net and slapped in the freshmen's eighth point...

Author: NO WRITER ATTRIBUTED | Title: Freshmen Six Romps, 8-0; Thinclads Triumph, 76-28 | 2/20/1969 | See Source »

...happened, this massive absorption of affluent but generally insensitive people into the audiences has coincided with a period of intense impatience with the old musical conventions, and urgent desires for new musical vocabularies. The result has been that the schism between composer and listener, which is an unmistakable sign of health, has become so broad that orchestras will not play new works. Even when they do, as in the cases of Elliott Carter's Piano Concerto or Milton Babbitt's Relata II, they cause outbreaks of hysterical recrimination, especially in those citadels of analytical dross, The New York Times...

Author: By Chris Rochester, | Title: The Avant-garde | 2/20/1969 | See Source »

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