Word: thin
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Dates: during 1970-1979
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...Thin Red Line (1962) impressed some reviewers. Jones, like Dreiser, often infused his fiction with a force that transcended the clumsy writing. Before long, however, even his primitive power seemed to have fizzled away. Such novels as Go to the Widow-Maker (1961) and The Merry Month of May (1971) were not only badly written but also burdened by fatuous philosophizing...
Style? From the bald pate to the thin cigars to the vested suits, Kojak exuded a distinctive charm. (Long John learned from his barber that a shaved head was now a "Kojak" --in the old days they had been called "Yul Brynners.") Sure, he was rough, often abrasive. Admittedly there was little of the intellectual about him. But who would you want when you faced a cornered pack of diamond-smuggling mobsters: Theo Kojak or John Finely? So much for urbanity. And for all his gruffness, Kojak could display that heart of gold all macho crime fighters are obliged...
Wrong Turn. Nonetheless, two Singen officers ambled down to the Café Hanser for a routine check of the report. There, composedly eating breakfast at a table, were a young man with a huge drooping moustache and a thin-lipped blonde. Asked for his identity papers, the man led the policemen into a nearby parking area. Reaching into his rucksack, he pulled out a sawed-off submachine gun, shot one of the officers in the chest and wounded the other in the arm. Commandeering an Opel at gunpoint from a passing motorist, he and his companion sped...
Pavarotti's voice is the "bel canto" voice par excellence: light, thin, with a pleasant floating quality: truly lyric. In contrast to tenors like Jon Vickers or James McCraken, who sing as if they had swallowed cooking knives, Pavarotti's sings effortlessly. Nothing is worse than a singer who strains. But unfortunately, Mr. Pavarotti, like too many other lyric tenors, suffers from the identity crisis of a vocal lightweight. Not satisfied with the lyric repertoire, he wants to conquer the dramatic roles; Manrico, Radames, Canio. He could make no greater mistake. Nothing destroys a lyric tenor more quickly or completely...
...even within his own specialty, of lyric singing, Pavarotti cannot match many of hs predecessors. For all its ease, the voice simply does not have the sheer beauty of a Gigli or a Caruso or a Tagliavini. These were "golden voices"; the sound was not light and thin, but light and full, with richness and texture to the sounds they produced; they soothed and caressed your ears. Pavarotti's voice is pretty, but not as startlingly beautiful...