Search Details

Word: stereos (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

Cambridge is the sort of urban community where opulent dormitories full of expensive stereo equipment gleam only blocks away from extreme poverty and oppression. But causes were not an issue when the crime wave came late last fall. Its appearance was a fact of life, so the rhetoric was that of fear and paranoia...

Author: By Richard Turner, | Title: Crime Continues To Rise | 6/13/1974 | See Source »

...often during his junior year, but did not stop completely. He managed to ditch the floater, and picked up two other roommates. One of them, a rich preppie, was perhaps the most ostentatious son-of-a-bitch he had ever met. But the preppie owned a lot of expensive stereo equipment, and was free with his dope, so it was easy to put up with his arrogant manner...

Author: NO WRITER ATTRIBUTED | Title: Inside Looking Out | 6/13/1974 | See Source »

...with the people he had to confront. Whenever he smoked, it became clear that the world was divided into two camps. Some were for him and some were against. But at least it was clear. Once, he got stoned, sprawled out on his bed, and flipped on the stereo. And it was just like the man said: "We won't get fooled again...

Author: NO WRITER ATTRIBUTED | Title: Inside Looking Out | 6/13/1974 | See Source »

With three Oscars staring down from atop $7,000 worth of stereo equipment, Hamlisch is working ten hours a day on the music for the film version of Neil Simon's The Prisoner of Second Avenue. He has spent two weeks struggling with the title theme alone, because, he says, "I want to prove that I'm not a fluke." And he is pursuing his next goal-to write a hit Broadway musical. "I want to see my name in lights above one of the great Broadway theaters," he says, "before...

Author: /time Magazine | Title: Show Business: Marvelous Marv | 6/3/1974 | See Source »

...progressive harmonies, but masses and motets written in the old church modes presuppose a different set of expectations. Just as the modal fabric of Renaissance music is foreign to the twentieth century ear, the context of modern music--a permanent background of muzak in supermarkets, television soundtracks and the stereo next door--bears no resemblance to the silence that Byrd and Gesualdo labored to fill. There are no grand gestures in this music, nothing simple for the listener or the performer to grab onto. If I Dilettanti Nuovi failed to provide the kind of pure sustained sound that can make...

Author: By James Gleick, | Title: Ineluctable Modality | 5/6/1974 | See Source »

Previous | 165 | 166 | 167 | 168 | 169 | 170 | 171 | 172 | 173 | 174 | 175 | 176 | 177 | 178 | 179 | 180 | 181 | 182 | 183 | 184 | 185 | Next