Word: touche
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Dates: during 1970-1979
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Kearns and Goodwin were unavailable for comment in early September, failing to answer phone messages. In Washington, Goodwin's answering service would only say that the couple were "away" and Kearns's answering service in Cambridge said only that she had been "in touch." A spokesman for her agent, Sterling Lord, said the agency had also been trying to reach Kearns for several days. There was no answer at Goodwin's Cape Cod hideaway...
...felt close to him and layed my head on his shoulder, wanting a daddy to hold me ... I hoped that he would pursue me or touch me, or rape me or anything good really, yet without me giving up to it. It was a little girl-game I wanted to play. But instead he told me: "So, you've been hurt and now you've locked yourself up. You've got all your love tied up in the past, and associated with bad or sad experiences. You wanted your daddy to hit you, didn...
Dramatically, Treemonisha calls for a certain amount of forebearance. Its message (improving the lot of the Negro) is treated naively, and its solution (education) is somewhat simplistic. Treemonisha works for an audience of today because Joplin kept his touch light despite heavy use of dialect ("No, dat bag you'se not gwine to buy, 'cause I know de price is high"). His is a fable that James Thurber might have appreciated...
...example, are shells that are held up on poles by supers. The rainbow that greets Treemonisha's ascendancy to leadership is an arch of ribbons. Dancers with alligator and bear masks move in and out of the voodoo scene. Louis Johnson's choreography does have a touch of Broadway pizazz. But when those good plantation folks turn from corn husking to "goin' around" (square dancing), it is hard to believe that anything so bouncy could have been rehearsed, let alone laid out in advance. The performance benefits enormously from the authority of Betty Allen's Monisha...
...proper "power office" should be in the corner, of course, decorated with power colors (a strong blue with a touch of red−to inspire fear−is good) and with chairs low and ashtrays just out of reach to discombobulate visitors. Where the visitor sits in an office is crucial. If the host seats him directly across his desk at A (see top diagram), it means the host is ready to make a deal. The visitor should then move his chair to B, encroaching on the host's space. If the host is trying to evade a deal...