Word: styles
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Dates: during 1970-1979
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...fact, China was never really "lost": it had never been won. The U.S. tended to see Chiang's China as a unified nation with an effective central government, even idealizing it as a breeding ground for an American-style democracy. But it was none of these. Just before his death, Sun Yat-sen had described China as "a heap of loose sand." Chiang Kai-shek tried to build on that sand the foundations of a modern and united country. But during Chiang's entire tenure as China's leader, the country remained beset by outside aggression, deep...
...actually heard the voice of God, who, she said, "would just instantly dictate an answer as though he were on the telephone." About 40 of the faithful had left, charging heresy. Those who remained were spellbound. Many began to receive their own dreams and visions, which Gill interpreted, Daniel-style...
...Saturday Evening Post from 1942 to 1961; of leukemia; in Penn Valley, Pa. Newsman Hibbs earned a reputation as "the most quoted young squirt in Kansas" by age 27. He took over at Satevepost in 1942 and managed to revitalize the faltering weekly by sharpening its quaint cover style (while retaining the beloved Norman Rockwell), commissioning more investigative stories, and softening its sometimes automatic conservatism. The Post ran into problems again and suspended publication in 1969; it has since reappeared as a monthly...
...Jimmy Page. Benson's uncluttered swinging blues set guitar-playing standards that quickly made his name known to every serious jazz buff. But after 20 years in an industry whose inflated lexicon calls every rock performer a star, Benson is still little recognized by the public. His style is romantic but ascetic - free of unnecessary electric trickery. Although he favors the slow tempi of Paul Desmond's Take Five, he can erupt in a blistering display of technique and energy like My Latin Brother. This record is bad in the traditional jazz sense: that means it is very...
...York City Opera, with Jeritza, now a remarkably robust and handsome 87, sitting in the fourth row center. Even in the 1920s, Die Tote Stadt was an anachronism. Korngold was to Richard Strauss what Engelbert Humperdinck (Hansel und Gretel) was to Wagner-a brilliant but minor follower. The style of Die Tote Stadt is a lush, clamorous, occasionally schmaltzy orchestral sonorama that lies somewhere between Der Rosenkavalier and Elektra, with special added effects from Puccini, Debussy, Mahler and Rimsky-Korsakov. The best of its vocal moments, like the taunting Marietta's Lied, sound like pure Franz...