Word: rawe
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Dates: during 1990-1999
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...title refers to the cave of Machpelah where Abraham and his family are supposedly buried -- is Come Out come out. Projected on five huge video screens, the interviews -- all in answer to the question, Who is Abraham? -- are treated both as the opera's text and as its musical raw material, from which Reich draws every element of his score...
Stranger was an evocation of the outlaw tradition, a challenge to the sappy sentiment and popular mechanics of conventional country music. Across the Borderline breaks similar ground, only the raw material it uses is not myth. Nelson's version of the title track is a characteristic redrafting: a song about illegal refugees widens into a memorable evocation of rootlessness, helplessness and drift. Written by Ry Cooder, John Hiatt and James Dickinson for a film sound track, Across the Borderline has become a contemporary classic, sung by, among others, Dylan and Bruce Springsteen. But no one has caught so well...
...through expulsion and terror. That is an old story, terrible but old: the story of ethnic war. The Nazi achievement lay in constructing an industry of death never before -- or since -- seen. An industry of continental size complete with railways, death camps, gas chambers and crematoria. An industry whose raw material was Jews and whose product was corpses...
...bedroom on the second floor, the men were confined to their dormitory downstairs. Behind the mind games and psychological sadism lay the threat of physical force. In addition to the paddlings, administered in a utility area called the spanking room, offenders could be forced down into a pit of raw sewage, then not allowed to bathe...
...reasons. Iron is quintessentially structure, not mass. Inside every figure produced by the academies had been a leaner, more abstract presence -- the wire armature on which the clay or plaster was built, hidden by the later work of representation. Just as Michelangelo had imagined the figure latent in the raw marble block, hidden by the superfluities of stone, so it fell to Picasso, Gonzalez and others to imagine a second structure within the conventionally sculpted figure: a kind of iron essence, expressed in line and plane rather than continuous surface, in openness rather than solidity...