Word: sweetness
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Dates: during 1970-1979
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What Bowie has learned from his extended association with Eno is how to manipulate the texture of each song. In the first song on Lodger, a saccharine ballad decrying the possibility of nuclear war called "Fantastic Voyage," the sound is gloppy and sweet--Eno is responsible for providing "ambient drone," the record jacket tells us. For the next track, a weird patter-song called "African Night Flight," his contribution is "prepared cricket menace." Elsewhere on the album he offers work on the Eroica horn or the horse trumpet...
...every June or July publish chattily dire warnings about the "Vacation Blues." These articles are invariably accurate. One does expect too much from vacations and winds up feeling disappointed and even inadequate, as if one had somehow not lived up to the occasion. One does toss through the supposedly sweet idleness with a lump of Calvinist guilt under the mattress; the jauntily go-get-'em "I need some work to do" does conceal, for all its Freudian banality, some sense of unworthiness: you don't deserve the pleasure of a good vacation...
...Monday evening the Pope sat before the shrine listening to the incongruous sound of a Catholic folk-rock band that blasted out We Want God and other religious songs. When the musicale ended, John Paul confessed, "I have a sweet tooth for song and music. This is my Polish sin. Now I must go; otherwise I will lose my image...
...homestretch, veered wearily outside. Hernandez drove Coastal through the narrow opening on the rail, and the Belmont was theirs. Spectacular Bid faded, finishing behind second-place Golden Act. Coastal's victory earned $161,400 for California Owner-Breeder William H. Perry, and the payoff was especially sweet. Since Coastal had been unable to race until April, Perry had failed to nominate him for the Belmont and had been forced to ante up a last-minute supplemental entry fee of $20,000 to make his colt eligible for the race. Coastal thus became the first supplemental entry ever...
...there was, finally, something unsettling about the way she continued to play nymphets until she was well over 30, it was a tribute to her mimetic gifts that she did so with such total persuasiveness. The reason was largely that her child-woman screen character was anything but sticky sweet. In Stella Marts, for instance, she played a double role: a crippled heiress and a love-obsessed slavey who commits murder so that the heiress and her lover (whom the slavey also loves) can find happiness. In the Dickensian Sparrows, she played a clever and persistent teen-ager who frees...