Word: stanley
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Dates: during 2000-2009
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...least four generations are represented (along with voices from much further in the past): bluegrass patriarch Ralph Stanley, veterans such as Norman Blake and John Hartford, neo-trad practitioners like Alison Krauss and Gillian Welch, and the Munchkin-voiced Peasall Sisters (average age eight and a half). But the years fade away as the artists converge on an old-timey repertoire of sparsely arranged, vocally oriented songs that hark back to a pre-commercial time when singing was as integral an element of people's lives as work, love and religion, all of which it encompassed. This isn't folk...
...include multiple versions of "Man of Constant Sorrow," "Man of Constant Sorrow," particularly those by the Soggy Bottom Boys (actually, varying configurations of Union Station and friends); Chris Thomas King's bluesy "Hard Time Killing Floor Blues"; "I'll Fly Away," by Alison Krauss and Gillian Welch; and Ralph Stanley's a cappella version of "O Death," a stark, primordial Appalachian apparition. But even such an unvarnished evocation of mortality doesn't cast a shadow over the collection's - and the film's - overall mood of sweet melancholy, encapsulated by Harry McClintock's 1928 recording of "Big Rock Candy Mountain...
Today "the whole industry is on the brink of consolidation," says Kevin Murphy, an airline analyst for Morgan Stanley Dean Witter. "Clearly we're going to go from six major carriers to three, and that will be the story of 2001." If that forecast proves accurate, weary travelers had better enjoy today's service, because the prospects for improvement aren't getting any better...
...city in the past 10 years, while Shanghai's gross domestic product has grown at an average of 10% a year, compared with 3.7% average growth for Hong Kong. "Hong Kong was never really a gateway to China; it was a window," says Andy Xie, executive director of Morgan Stanley Dean Witter in Hong Kong. "But why would you want to go through the window when the door is wide open...
...vital center of American culture. Burns is relentless on the subject. He has spoken loudly and often about how racism is the thread that binds Jazz together with his previous large-scale work. He and his onscreen docents, like trumpeter Wynton Marsalis and the critics Gary Giddins and Stanley Crouch, easily weave the story of the music not only together with history but also with conventional cultural tradition. Mozart and Shakespeare are cited as cultural touchstones for the giants of jazz; the narration refers to Ellington as "America's greatest composer," an accolade that may well be deserved but which...