Word: styles
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Dates: during 1970-1979
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...Then six years ago, Willie bucked the system by leaving Nashville for Austin, Texas, where he took charge of a movement that made outlaw a term of defiant pride. Along with such congenial spirits as Waylon Jennings, Billy Joe Shaver and Jerry Jeff Walker, he fashioned a spare, linear style with a heavy rock beat that reached an audience far broader than the country faithful, mainly by appealing to long-haired rock fans...
...recordings went nowhere, perhaps because they were not truly his own. Producers decreed that he should be backed by slick studio musicians and often swathed in saccharine strings. What came out was the Nashville sound, not the Willie Nelson sound. "I was trying to sell a new style of singer," Willie recalls. "They didn't have a category...
Despite the underlying unity of the progressive country style that burgeoned beneath Willie's-and Austin's-banner, its exponents were diverse and farflung. Some were identified with the city's rowdy club scene, like the hard-drinking Jerry Jeff Walker, whose life-style could qualify for federal disaster relief. Others, like Michael Murphey, started in Austin but moved on to other locales. Now living in Evergreen, Colo., Murphey has a cooler sound than many of the progressives and writes lyrics about themes like urban sprawl and the advent of fast-food chains where the Cavalry once...
...clients once included Philip Morris, CBS and Samuel Goldwyn; of a heart attack; in New York City. A young immigrant who became head of his own public relations firm in the 1920s, the walrus-mustached Sonnenberg dressed like an Edwardian, cultivated the rich and powerful, and lived in a style most of his clients envied. In his 37-room, antique-filled mansion on Manhattan's Gramercy Park, he held lavish soirées at which he flourished as raconteur and keeper of secrets, wheeler-dealer and patron of intellectuals. Sonnenberg once proclaimed: "I want my house and office...
...Irving Bender seems an unlikely hero, it is because he dwells in the midst of poverty-the poverty of faded tradition and of circumstance. Markus dramatizes this familiar condition with a laconic, willfully unliterary style. Her insights possess the character of aphorisms, translated into the sardonic, bantering idiom of immigrant Jews. "A lot you know," is the lesson Irving learns from his mother's death. When he invests in some paintings by an unknown artist who becomes famous, the novelist observes: "No one ever went broke seeing what was right in front of his nose...