Word: tone
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Dates: during 1980-1989
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...Nell Carter hip-hopping through Alexander's Ragtime Band, Michael Feinstein singing I Love a Piano, and Garrison Keillor reciting All Alone. But then there were the lows: tinny amplification, an overpowering brass section, Bea Arthur's oomphless Hostess with the Mostes' and Leonard Bernstein's self- indulgent twelve-tone parody of A Russian Lullaby. Bernstein was also notable for ad hoc choreography. In seamless motion during the final bows, he embraced Shirley Maclaine, knelt before Marilyn Horne and lodged himself beside Frank Sinatra. The show is ended -- thank God, Berlin's melodies linger...
Salinger has won his legal battle but with predictable results: he has lost the war against unwanted attention. He was forced to communicate with a world he had long since renounced. He was summoned to Manhattan to give a deposition to the defense. His tone in that document is terse and grudging...
...astonished by the great number of young people at rallies and by their impressive support. That is new because the young ordinarily have reservations about political parties. And it brings a new, different tone to our politics. They are very sensitive to anything that has to do with human rights, generosity, the Third World, culture, scientific research, the adventure of the mind, education, professional training and equal opportunity. They reject discriminations. For them, these problems supersede the others...
Pratt, who worked briefly at Teen and McCall's before being recruited by Yates, says Sassy is much more difficult to edit than its conversational tone would suggest. "Coming up with story ideas is still a stretch," she remarks, sitting in her uncluttered pink office overlooking Manhattan's Times Square. After only three issues, Sassy already has a circulation of 280,000, a figure Yates predicts will balloon to 1 million over the next five years. That would put Sassy in the same league as its chief competitors, Seventeen (circ. 1.86 million) and Teen (circ. 1.19 million), and make...
What is troubling in his work is a moral ambiguity that verges on cynicism, coupled with a high-minded tone that verges on sanctimony. In The Untouchables he claimed the authority of history to invent a fictitiously murderous Eliot Ness and, worse, a guilty plea made for Al Capone by his attorney against the mobster's will. That is something that could not happen in any court still observing the fundamentals of the Constitution. In Speed-the-Plow Mamet makes the unastonishing revelation that movie moguls are venal and pandering. Perhaps he means to prick spectators' consciences by holding them...