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Priapic Swagger. Unlike the Impressionists, Gauguin did not paint what he saw: he chose to see what he wanted to paint. And his ideas on what was paintable grew out of other art-from the broad color patches and rhythmic line of Japanese cloisonne and wood block prints, from rural Breton sculpture and the flattened, monumental figures of a French artist he greatly admired, Puvis de Chavannes. Style absorbed him -not only the priapic swagger and ebullience of his own lifestyle, but the pervasive feedback of art style into nature. Even the fierce colors which scandalized some of his contemporaries...

Author: /time Magazine | Title: Art: Unforgettable Self-Delusion | 3/22/1971 | See Source »

...first. For if his voice is spare and strangely uninflected, his guitar fingering lends sudden lights and shadows to the barest melody. Musically, Taylor is a fusion of the three black and white mainstreams of pop: the lonely twang of country, the pithy narrative of folk and the rhythmic melancholy of blues. Beyond that, Taylor's use of elemental imagery?darkness and sunlight, references to roads traveled and untraveled. to fears spoken and left unsaid?reaches a level both of intimacy and controlled emotion rarely achieved in purely pop music. He can, says one of his campus admirers, "turn...

Author: /time Magazine | Title: Music: James Taylor: One Man's Family of Rock | 3/1/1971 | See Source »

Side 2 is devoted entirely to The African Trilogy, which grew out of Diamond's interest in gospel music and his desire to explore its rhythmic roots. Using African beats-more sophisticated than African melodies-Diamond grandly started out to depict the three principal stages in a man's life: birth, maturity, death. Though the trilogy finally grew to six parts, Diamond liked the original title and kept...

Author: /time Magazine | Title: Music: Tin Pan Tailor | 1/11/1971 | See Source »

...string and bringing up my volume knob so that there is no attack on the beginning of the note. The note just starts to come out of the air. . . . I've already played the string, turned up the volume, the feedback starts. And I stop the string at a rhythmic interval. So that I have . . . if I were to draw a picture of the tone, it would be just about the reverse of what a guitar tone normally is, where you have a heavy attack and then a slow decay. Because it's the other way around, it decays...

Author: By William S. Beckett, | Title: Come Hear Uncle John's Band . . . | 1/7/1971 | See Source »

...clear influence of The Band in their concern, respectively, for the history of the old American South and the ever-present pain of growing old. It is an influence freely and proudly conceded by the composers. One thing most of the songs have in common is a relentless rhythmic build-up from a quiet beginning. Burn Down the Mission, for example, starts out like' a country stroll and ends like a hell-bent Georgia stagecoach...

Author: /time Magazine | Title: Music: Handstands and Fluent Fusion | 12/14/1970 | See Source »

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