Word: popped
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Dates: during 1990-1999
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...having got into this mess. Perhaps they will feel a little guilty for having tried to get "something for nothing," and perhaps they will conclude that this stock market stuff is just more stress than it's worth. And they'll decide to get out as soon as stocks pop back up and they can break even. But, it will turn out, stocks won't pop back up. They'll just edge down and down, until at some point these investors will become really disgusted. And scared. Sure, capitalism never collapsed before, they will think, but with all these unregulated...
Love, an alternative-rock star in her own right, was in Los Angeles at the time of Cobain's death but reportedly flew to Seattle Friday morning. While talking to the pop-music critic Robert Hilburn of the Los Angeles Times early last week, Love broke into tears describing her husband's recently fragile condition. "I just don't ever want to see him on the floor like that again. He was blue," she told Hilburn, recalling Cobain's overdose in Rome last month. "I thought I went through a lot of hard times over the years, but this...
Really now, America, your fondness for intimate atrocity is getting out of hand. Aren't there fewer cases of serial killers in the U.S. than there are books, movies and TV shows about them? It's sick but true: a statistically minute aristocracy of psychotics has commandeered pop culture...
...that was long ago, before the '60s -- from which all ominous changes can be dated -- rewrote the rules of American gesture. Such previously banal signifiers as handshakes and haircuts, comic books and pop music, became freighted with contentiousness. Soon Steve Martin was introducing politically correct comedy to the smoking debate. "Mind if I smoke?" he imagined someone asking him, then replied, "No. Mind if I fart?" In the '80s, even James Bond felt bad about smoking. Today the habit is excoriated -- antitobacconists depict Joe Camel as a schoolyard drug pusher -- and publicly survives only as a vestige of James Dean...
Singing, instead of speaking, about emotions and situations actually better conveyed the intended mood of this piece. The consistently frivolous chorus, played with great flamboyance, brings the lighter mood back into play. Everyone succeeds in putting great fun into the flouncy pop score by Stephen Sondheim. His lyrics and expression are what the hardcore thespian would disparagingly lable witty; they nevertheless succeed in drawing the players up from their dramatic doldrums. But while de Lima and Upton stand out with rich, impressive voices, several other performances are inconsistent with their standard, preventing the music from carrying the production...