Word: purist
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Dates: during 1970-1979
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Almost everyone who approved of the series confessed that the production was not perfect; it was, after all, only TV-and three times better than that medium, with all its bad habits and commercial limitations, usually manages to do. Therefore (or so this argument unfairly implies) it is purist and precious, an ostentation of suffering, to say that the series was flawed, that it did not anguish stylishly enough before the abyss, over the race that went up the chimneys in smoke. The importance of the series was that, however imperfectly, it instructed millions, imprinting upon their memories an evil...
...could be made to appear as big as a destroyer on radar screens by simply wrapping a roll of aluminum foil around each of those beautifully crafted hull points used only for aesthetic purposes. The foil could be laid beneath the outer covering of reed to preserve the "purist" intent of Tigris...
...taking over the G.O.P. Clearly it is far too early to say whether or not they will be able to succeed, but even if they do, they would still have problems. Although they are more pragmatic about techniques these days, the New Rightists tend to be just as purist as the old right on the issues. Hewing a hard ideological line would be no way for the beleaguered G.O.P. to boost its membership: it now commands only 20% of the national electorate...
Stokowski had little more success in his co-conductorships. His tenure with the NBC Symphony ended after two years because the joint director, Arturo Toscanini, felt that Stokowski's musical ideas were too divergent from his own to make a joint directorship possible. Toscanini, the purist, had only a mite of sympathy for Stokowski's revolutionary ideas about adjusting acoustics and reseating orchestras. The problems were almost exactly duplicated and Stokowski ousted exactly seven years later, when he was hired to co-direct the New York Philharmonic with Dmitri Mitropoulos. The flamboyant Stokowski, whose glamorous life was already shrouded...
Landscape as Cop-Out. These paintings, central to the so-called West Coast look, were the figurative works of a man who had once been an abstract painter and would become one again; purist criticism gave them short shrift. Landscape was regarded as the abstractionist's copout. Diebenkorn's work was described as abstract expressionism (the New York style par excellence) diluted for West Coast palates. If not unserious, at least it was not major. "It was always a putdown for me in the '50s," recalls Diebenkorn, 55, a big, reticent man with a no-nonsense bearing...