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Side Two opens with "Rant and Rave," a tempo-shifter with fun horn charts and fascinating rhythms; this is followed by "Nineteen Forever," another anthemic track in the "Blaze of Glory" mode and about as interesting. "The Best I Can Do" is a ballad that suffers by comparison with its Side 1 counterpart, largely because it's melody becomes monotonous after the requisite three or four repetitions...

Author: By Glenn Slater, | Title: Great Balls of Fire | 4/28/1989 | See Source »

...Christopher Plummer's feline grace vs. Glenda Jackson's vulpine ferocity, his moody introspection vs. her forthright speech and action. Alas, what sounds like explosive chemistry proves inert. The missing catalyst is a directorial idea of what the play is about, a point of view. From the opening declamatory rant of a wounded soldier to the final hortatory hollowness of the youth who supplants Macbeth, volume substitutes for meaning. This fish stinks from the head: Plummer copes with the poetry of "tomorrow, and tomorrow, and tomorrow" by denaturing it in monotone; Jackson distracts attention from her shrillness by twitching, fidgeting...

Author: /time Magazine | Title: Theater: Sexual Chemistry Sans Catalyst MACBETH | 5/2/1988 | See Source »

...month ago, Winfield could have been hitting the road faster than it takes James Brown to rant and rave about feeling good. All for The Book he wrote about being a Yankee...

Author: By Julio R. Varela, | Title: Davey and George | 4/22/1988 | See Source »

...pity that the audience must wait until after intermission to hear Linus Gelber's interpretation of the Cockney manager Teddy, since there is such a temptation to duck out for a soothing whiskey and soda after the rant-athon. Teddy is the sort of conman with a heart of gold that Bob Hoskins might play, but I doubt he could do a better job of it than Gelber. Even if it sometimes sounds like he just got off boat yesterday, and his accent has more of the West Side than the West End in it, Gelber still pulls...

Author: By Cyrus M. Sanai, | Title: Harvard Theater | 4/15/1987 | See Source »

SEXISM IS MOST dangerous when it's subtle, when it is so deeply embedded in a culture that it becomes socially acceptable, as Playboy has. And so, you speak out, you yell, you rant and you rave when you recognize this subtle destruction. There is no other way to jar society out of its passive acceptance of the objectification of women, even though in this society it happens to be legal...

Author: By Kristin A. Goss, | Title: Taking a Stand Against Sexism | 3/5/1986 | See Source »

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