Search Details

Word: real (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
Sort By: most recent first (reverse)


Usage:

CLINT BLACK: KILLIN' TIME (RCA). Real nice, unassuming, go-to-meeting country music by a new Nashville hotshot. Black sounds like Randy Travis with a few more years of book learning and a cozy way with a melody...

Author: /time Magazine | Title: Critics' Voices: Oct. 2, 1989 | 10/2/1989 | See Source »

...wife make the best of thankless parts, although his pitch and accent wobble while she sings gloriously. Jonathan Pryce is deliciously campy yet sympathetic as the Engineer, a Eurasian pimp evocative of the emcee in Cabaret. In Salonga, a star is born. Playing a plaster saint, she is stunningly real. But the show's final moments are so bleak that despite an $8 million advance, its future may not be assured. Some downers, like Les Miz, are at heart ups. This one is only a down...

Author: /time Magazine | Title: Theater: Dream Turned Nightmare | 10/2/1989 | See Source »

Soviet and foreign analysts disagree on whether ethnic turmoil or economic failure is the greater threat to Gorbachev. There is no doubt, though, that the peril is real. "Even after this week," observed former British Ambassador to Washington Sir Oliver Wright, "the odds are against him." A Soviet political scientist in Moscow, Yevgeni Ambartsumov, is equally grim. "The threat of economic collapse exists," he says. "Things are getting worse...

Author: /time Magazine | Title: Soviet Union Gorbachev 's Vision Thing | 10/2/1989 | See Source »

...caning in Picasso's Still Life with Chair Caning, 1912, is mechanically printed oilcloth, and its presence in the tiny painting -- worked over with that fierce slanting clutter of painted images, newspaper, glass, cut lemon and so forth -- is a double play with signs, not the insertion of something real into a fiction...

Author: /time Magazine | Title: Art: The Adam and Eve of Modernism | 10/2/1989 | See Source »

...reality" is hardly detectable in this show. You get an overwhelming sense of plastic energy from Picasso's drawing of volume, but that is a different matter. Neither he nor Braque was out to propose a systematic alternative to one-point perspective as the key to making things look real. There was no system to Cubist shuttling and lapping. Which does not mean it was anarchic, but rather that Picasso and Braque made up their coherences from passage to passage, from inch to inch of the canvas, rejecting the "timelessness" of traditional painting as they went...

Author: /time Magazine | Title: Art: The Adam and Eve of Modernism | 10/2/1989 | See Source »

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