Word: rye
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Dates: during 1970-1979
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Reports a recent visitor: "There are always people floating in and out of there-friends from Rye, people they know in New York." Contrary to some reports, Mitchell stays sober, never drinking liquor until evening and then consuming perhaps a couple more than his customary two predinner Scotches...
...drink "light" does nothing to distinguish it from, say, Canadian or Scotch whiskies. Liquor dealers are unsure whether a new light drink will bring additional business or merely siphon sales away from older labels. As a result, light whisky is often stacked willy-nilly among bourbons and rye blends on the shelves so that buyers come across it only by chance. With their fuzzy image, the lights have failed to attract young people, who continue to down vodka and wine. The lights also have gone all but unnoticed among blacks, an important market. Because there is so little call...
...gonna kiss every doggone girl, down by the riverside," and proceeded to kiss and be kissed by every doggone man, woman and child around him. Nearby, a middle-aged couple carried a sign with the words BREAD NOT BOMBS, and handed out free chunks of home-made rye bread...
...Anshutz was not the only record. A cast of Frederic Remington's bronze Coming Through the Rye-a typical example of the vulgar, illustrative fist that Remington, artist laureate to the Wild West, brought to everything he touched-became the most expensive American sculpture in history, at $125,000. The previous record for an American watercolor ($36,000 for an Edward Hopper in 1970) was broken three times-by another Hopper, Light at Two Lights, at $50,000; a Winslow Homer, Adirondack Catch, at $37,500; and Charles Burchfield's Black Iron, which brought $65,000. That same...
John Barth came of novelistic age in the fifties when existentialism was all the rage, and the grand American theme was embattled innocence in the rye and on the road. His first two novels. The Floating Opera (1956) and The End of the Road (1958) are cast in the spirit of those times conventional in form ironic in tone, and much preoccupied with the problem of moral choice in the face of absurdity. The two books received a due measure of critical success, and qualified Barth as one of the promising young talents on the American scene...