Word: personal
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Dates: during 1960-1969
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...structured could lose in coherence and theatricality what it had to offer in variety. This problem was avoided by presenting works so similar in conception, style, movements, music (non-music or no music) and even costumes and lighting, that they could well have been created by only one person. This left the rather depressing impression that all young choreographers around here are thinking and producing the same dreary stuff...
Clearly, American poverty is unique, both in its scope and its symptoms. According to a U.C.L.A. study, "it may refer to a family's or person's ability to purchase goods and services, to the opportunities open to individuals or groups for improving their economic position, [yet] it has subjective dimensions as well, determined by some kind of norms accepted by the society at large. People who fall below the norm do not necessarily consider themselves to be poor, and people who are above the norm may feel poverty stricken...
...present. Scene: a jazz club anywhere. Starting with Coin' Out of My Head, Wes's pop-jazz albums have brought a huge, diverse new audience thronging to his in-person appearances. For a solid nine months, one or the other of his recordings has held the No. 1 spot in Billboard's bestseller chart of jazz LPs. This week A Day in the Life, which has sold a whopping 250,000 copies, is at the top of the chart for the 32nd consecutive week...
Take for example Visions of Johanna, one of the half dozen best songs Dylan has ever written. Listen to it. Dylan is lying in bed with his girl, named Louise, wondering about Johanna, salvation (life after death), and life before death. He constantly abstracts himself into the third person, first as Louise's "lover," then as a little boy. He sings: "Now a little boy lost. He takes himself so seriously. He brags of his misery. He likes to live dangerously. And when bringing her name up, he speaks of a farewell kiss to me. He's sure...
Bark & Bite. Mailer indulges his hero with a splendid deadpan pomposity, reinforced by the fact that he refers to himself throughout in the third person. The reader first meets him in his Brook lyn Heights apartment, picking up a ringing telephone as if it were a pistol loaded for Russian Roulette. "On impulse, thereby sharpening his instinct as a gambler, he took spot plunges: once in a while he would pick up his own phone. On this morning in September, 1967, he lost his bet." The caller is a militant antiwar organizer and old Harvard classmate, who extracts from Mailer...