Word: twistings
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Dates: during 1950-1959
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...spite of Mr. Dyer-Bennett's obvious skill in singing what one observer called the "la de da" ballads, he becomes, after steady listening, as entertaining as a ten-year-old Irish tenor singing "Danny Boy" for a local talent show. Dyer-Bennett's voice, unfortunately, lacks that twist of lemon peel which, for example, made Hank Williams something more than another hillbilly singer...
Evolution v. Revolution. Next day the President flew to Atlantic City to address the American Medical Association, warned the medical profession against contributing to inflation with bloated fees (see MEDICINE), gave a medical twist to his pleas for a balanced budget: "Habitual violation of a balanced diet can lead to ruined health; deliberately to unbalance the federal budget in time of huge indebtedness and rapidly increasing prosperity can bring about an enfeebled economy...
...parallel to J. D. Salinger's The Catcher in the Rye is ironic, and too close to be anything but intentional. Miller's gift for mimicking the speech of a bitter, neurotic boy is as true as Salinger's. But Holden Caulfield had a caustically individual twist to his mind, and it was on an exploration of this mind that Salinger concentrated. Miller's book is focused not on Duke himself, but on the shockingly brutal existence that is natural to him. The book is too much the composite case history to be a really good...
Khrushchev also praised John Foster Dulles as "a great political figure," but of course his compliment had a Communist twist to it. Khrushchev's bare-faced whopper: in his last days, chatting with Mikoyan, Dulles had reversed his policy and accepted Russian domination of Eastern Europe. Dulles was not alive to answer so gross a fairy story,* and Khrushchev added kindly, "To make such a declaration required courage." The State Department noted tartly that Khrushchev's menacing insults to Italy and Greece hardly fitted in with his pre-summit stance of trying to ease tensions...
Butterfly Under Glass. First done by the Bolshoi in 1946, Romeo and Juliet seems to Western eyes a curious dramatic anachronism, a bit like a brilliant butterfly under glass. As much emotion-laden pantomime as dance, it retraces virtually every twist and turn of Shakespeare's familiar plot in 13 scenes before a series of sumptuous but often ponderously literal sets. The heavily orchestrated score, boldly conducted without score by Conductor Yuri Faier (he is almost blind, can see only the dancers' silhouettes), is unabashedly romantic, gently moving in its lyric flights, occasionally distracting when the onstage movements...