Word: sung
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Dates: during 1970-1979
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Bakke was not a sweeping decision resounding with memorable phrases. But by ruling narrowly and indeed delicately, the court had apparently succeeded in finding a middle ground between stridently opposed forces on the deeply emotional issue of "reverse discrimination." If no hosannas were being sung in the streets, there were widespread sighs of relief. The court had accomplished the near impossible: it had handed down a decision that would partly satisfy most people and strongly dissatisfy only a few. It was an exercise in judicial pragmatism in the tradition of a politically aware, not overly ideological court. The decision...
...Washington, where Jane Fonda once condemned the System, where angry farmers three months ago unleashed frightened goats, where Moonies have sung and right-to-lifers raged, there last Thursday afternoon were several hundred small businessmen standing in polished shoes and a light mist to tell their Government that they were opposed to yet another layer of regulation...
...generation that turned on to rock'n'roll in the '50s and '60s, and now there are some artists who are being honest about the '70s. Unlike the now naive (in fact, senile) voices of the Rock Establishment--including Rod Stewart, Mick Jagger and Paul McCartney--Street Hassle is sung right from the street, with the same honesty about life that Jagger and Stewart once...
...seen in Count Almaviva's failure to return Figaro's help in the second half of the play. That argument, however, would have little evidence to support it except the final chorus, which includes lines like, "But hear the thunder from the left, denouncing property as theft," and is sung to the tun of the British Labour Party's song ("The People's Flag is Deepest Red"). While there are other lines in the play that hint at a political interpretation--money breeds money, especially through corruption, we are told--these are generally passed over by the cast...
Originally commissioned by the Scottish Opera, the music is built on a dissonant counterpoint between the vocal lines and orchestration. Although it has little charm or lyricism, the score does have strength. And there are some masterly touches, as in a ballroom scene in Act 1 in which Bothwell (sung by Barry Busse) and his soldiers watch awkwardly as Mary (Ashley Putnam) and her courtiers dance stately pavanes. Infuriated by the perfumed elegance, Bothwell strides forward and belts forth a rough Scottish reel. The roistering tune and sinister tremolo accompaniment overwhelm the lutelike Renaissance melody of the dance...