Word: roof
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Dates: during 1980-1989
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...Then the roof caved in. It all began with this score: Rutgers 69, Columbia...
...surrogate for the resonant mystery on old blues and early rock records. This makes Tunnel of Love close kin to his 1982 solo effort, Nebraska, which was meant to sound homemade. Tunnel of Love takes that approach even further, into the mythic heart of American music and some slat-roof recording studio -- maybe on a prairie, maybe near a delta -- where a singer sits down, lays down a few sides, then % vanishes into the long night. Tunnel of Love has that kind of righteous power. It is a record that Springsteen has staked a lot on. It follows no formulas...
...most puzzling question surrounding Cosby is why, after a long career that seemed to have plateaued somewhere short of superstardom, he suddenly found himself the proprietor of TV's biggest hit of the decade. By most objective standards, The Cosby Show is an unlikely candidate for through- the-roof success. In contrast, say, to the Norman Lear comedies of the early '70s, it breaks little new ground in style or subject matter. It has none of the gag-writing brio of The Mary Tyler Moore Show or a half a dozen comedies that followed it. Indeed, The Cosby Show might...
...worst when he is most folksy. The Woolworth Building, leaning forward as though to resist some invisible gale, with old Frank Woolworth huddled like a crazed alchemist in its tower and a dragon made of dollar bills (the Spirit of Capitalism -- geddit?) waving its creaking neck from the roof, is quite a creation. But either way, one has the sense of an exaggerated rube's-eye view willfully prolonged. It reminds one that however "elitist" economy and wit may seem, vulgarity soon palls. Grooms' work is not folk sculpture -- it is too self-regarding for that -- but it enacts...
...dedicated to the job of translating Japanese tradition in terms of modern architecture, and introducing the result to the outside world." Tange's buildings of the '50s and '60s were in the then obligatory International Style but given bits of national flavor -- Japanese-accented Esperanto, with upswept roof edges and exposed concrete beams formed into abstract "timbers." Isozaki's buildings of the '70s and '80s are the converse: instead of Japanizing a universal architectural style, he takes inspiration and ideas from anywhere he chooses, his odd, exciting syntheses unbound either by traditional or by antitraditional dogma. "I consider myself...