Word: weil
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Dates: during 1970-1979
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...Brien visited Cambridge to give a lecture last night on the French author Simone Weil and her wide-ranging philosophical beliefs...
Died. Joseph R. ("Yellow Kid") Weil, 100, confidence man extraordinary and regular jailhouse boarder; in Chicago. Weil donned gentleman's garb and artfully flimflammed hundreds of marks, including horseplayers who fell for his phony wiretap schemes for beating the odds, lovers of exotic pets who bought his talking dogs only to learn that they had been "stricken" with laryngitis, and one detective who was finessed into buying $30,000 in "stock" from convicted Swindler Weil while escorting him to prison. The secret of his success? "Each of my victims had larceny in his heart," explained the master of hanky...
...recollects, he was a family man, an inspirational leader who could exhort his players in a style that might make Pat O'Brien misty. His enmities, claims Leo, were transient, his friendships permanent. Sidney Weil, onetime owner of the Cincinnati Reds, with whom the Lip did many a dubious battle, is "the nicest, kindest man I have ever known." Ed Barrow of the Yankees, a notorious Durocher rival, is "the best friend I had in baseball." Branch Rickey, another erstwhile enemy, is "the great man" in Leo's life...
...poem of force," French Philosopher Simone Weil once called the Iliad in what must be regarded as howling Gallic understatement. On Homer's blood-drenched plains of Troy, spears cleave through a man's tongue and shatter his teeth or pierce an eye socket. Swords sever heads. Armies mow down opposing ranks like "a line of reapers formed, who cut a swath/ in barley or wheat." Death spreads across the pages like a pool of ink-"numbing darkness," "unending night." Awesome griefs are recorded. Hair gets torn, ashes smeared. But when a mourning fast is proposed, the answer...
...Wayfarer," in an interpretation which emphasized the lyric, folk-song quality of Mahler's melodies. Her rich, sometimes deliberately harsh low register is a magnificent and constant surprise. The alternating sensuousness and despair which she brought to the fourth Song were suggestive of the lilting, tragic songs of Kurt Weil, which also have roots in German-Austrian folk melody. The orchestra--particularly its excellent wind section--gave her exceptionally sensitive support with clean, sharp attacks and supple phrasing. Forrester's spirited but somewhat less exciting performance of Mozart's concert aria "Non Piu di Fiore" was complemented by a beautifully...