Word: sustainers
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Dates: during 1970-1979
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...stories and novels, Singer's prose is suffused with drama. In the theater, his work becomes prosaic. The notion of a girl deceived by a man who does not change his costume or his appearance demands a magic that neither the manic cast nor Director Stephen Kanee can sustain. For this tenuous fantasy, an entertainment tax is difficult enough. A credulity tax is insupportable. - Stefan Kanfer
...passed, and the painting is still contaminated by the fallout from its price. The dance of digits in front of one's eyes renders the thing "special," isolated, fetishistically rare. It not only removes the painting from the flow of discourse about experience that art is meant to sustain, but it makes the price part of the subject of the work, separating it, by implication, from everything else ever painted by Velázquez, turning it from one painting among others into a dead whale on a flatcar, a curiosity to be gawped at. To most people visiting...
...happens to every man sooner or later: eager to have sex, he finds himself impotent, unable to achieve or sustain an erection. For most men such disappointments are fleeting episodes in otherwise successful sex lives. But for perhaps as many as 10 million American males impotence is a devastating chronic condition. When the cause is psychological, which may be true in about half of all cases, counseling and sex therapy can often help. But for most impotence resulting from physical problems, only one remedy is available: the penile implant. Though the public is generally unaware of these mechanical devices, which...
...Gerstenblatts and Dave see further growth potential in their business--they have plans to add pies, ice cream, and even a pizza-sized cookie to their line of quarter-pound, two-pound, and three-pound cookies. Dave thinks the business could sustain a series of franchises throughout the city and in other states. But what is most important to the Gerstenblatts is that the business is theirs...
...lack of structure and amorphous aspirations to write love songs do not sustain this album. Hubbard traces some of her roots back to Tchaikovsky, and she has clearly picked up the less desirable traits of the late 19th century romantics from her years of classical training. Her piano style is heavy-handed, unsubtle and flashy. She alternates booming chords organized in the most predictable of charts, with grandiose runs up and down the keyboard which sound like pallid attempts to imitate Keith Jarret's flourishes. The arrangements do nothing to cover for Hubgaucheries. To evoke Arabia, Hubbard gives us Bedouin...