Word: sommerness
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...just remember the pool. Remember that we had hours when suits were optional in the pool?" Henry J. Sommer '71, a former Adams House Committee member asked a group of friends...
...sold about 40,000 copies and got the attention of Atlantic, which, intrigued by the band's home-brewed fan base, signed Hootie to a modest $75,000 deal in 1993. "I don't think Atlantic was hoping for anything when it came to the deal," says Tim Sommer, who brokered the contract for Atlantic. "Did I think they'd make a million dollars? No. But I did know they'd sell records. Before I signed them, they'd already sold half a million dollars' worth of Ts. If you can sell a T shirt, you can sell a record...
...welcome one. The drama opens with the Rev. Lionel Espy (Josef Sommer) alone on the stage--or perhaps he is not alone, for we catch him in a moment of intense prayer. (The play captures many of its characters in prayer, a device that neatly resuscitates the traditional dramatic soliloquy.) Espy is an aging, equivocating figure caught in an equivocal time and place: contemporary South London, a run-down environment in which brutality and indifference raise doubts about the church's relevance. He's the sort of man whose ability to see both sides of a question is cited...
Director Richard Eyre, who heads London's Royal National Theatre, draws able performances from nearly everyone as the play moves from synod to seedy bar, from cathedral crypt to council flat. Sommer offers an adept portrayal of a man rich in feeling but poor in political skills, and Cumpsty does a marvelous job of radiating dangerous certitude. He embodies the paradox of the sort of spiritual fervor that, while ostensibly surrendering itself to a Larger Power, borders on megalomania: every cloud in the sky, every leaf on the tree, serves as a personal signal corroborating his uncompromising judgments...
...Sommer's tongue-in-cheek composition signals the evolution from Chasing Shadows' "Creative Vision" into "Constructed Vision." Here, photographic image moves away from passive observation into active commentary of society. The final, contemporary photographs focus less on pure aesthetics than on communicating questions and truths...