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Word: violin (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
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Usage:

...scholarship from the ViolinSociety of America subject to the fact that youcontinue to take violin lessons and the violinsociety discriminated against certain kinds ofpeople," Green said, "we wouldn't have any problemwith that...

Author: By Wendy M. Seltzer, | Title: Is Harvard Giving Up on Its ROTC Promises? | 2/26/1994 | See Source »

...furor comes at a bad time for Farrakhan, who has been trying to expand his power base. He publicly performed Mendelssohn (a Jewish composer) on his violin and talked of reaching out to Jews. A Farrakhan speech in New York City this December drew 30,000 people, a crowd that would be impressive for a rocker, much less a lecturer. In September U.S. Representative Kweisi Mfume of Maryland, head of the Congressional Black Caucus, announced that he had formed a "covenant" with Farrakhan and that the caucus would work with him. But after Muhammad's diatribe, Mfume asked Farrakhan...

Author: /time Magazine | Title: Enforcing Correctness | 2/7/1994 | See Source »

...loose, textural unaccented beats that showed up between the verses of a reggae number could be used to drive the whole song forward, and the space vacated by traditional "rock" drumming patterns could be occupied by thick, harsh, visceral swaths and sweeps from Vicki Aspinall's violin...

Author: By Steve L. Burt, | Title: ONE CHORD WONDERS | 2/3/1994 | See Source »

Rather than charging forward like "Anarchy in the U.K." (or like "Johnny B. Goode," for that matter), the songs on The Raincoats seem to stutter, or stumble, or struggle ahead, with Aspinall's violin in the lead; the momentum they do achieve builds up within the course of each song. Standout pieces like "Fairytale in the Supermarket" and "Black and White" (which begins with siren-like saxophone bleats) fall together as they go along, as if the improv techniques of free jazz had suddenly been discovered to apply to rock and roll, or as if-and I think this...

Author: By Steve L. Burt, | Title: ONE CHORD WONDERS | 2/3/1994 | See Source »

Their avoidance of so many ordinary tricks of the trade (there are no guitar solos, no violin solos, no funk-style contrapuntal parts, barely even any cymbal hits) is one of the reasons this product of London can nevertheless give any listener a feeling of tremendous horizontal space, of nearly physical limitlessness: the aural space those missing solos, counterpoints, multiple riffs or crowded drumming patterns would occupy is instead left open for the listener to fill...

Author: By Steve L. Burt, | Title: ONE CHORD WONDERS | 2/3/1994 | See Source »

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