Word: cowards
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Dates: during 1980-1980
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...Shakespeare's Hamlet warns, Carter's enlarged conscience makes a coward of him, then by almost every measure in this sad nation, the future is bleak. It is a season for new resolve, for a display of determination that this White House has never reached before. These days cry out for daring, defiance, even jauntiness. Carter tried, failed, but his message now should be, let the world beware...
...austere arms of existentialism. Sartre did not invent the term, and he owed a heavy intellectual debt to more profound European thinkers, notably the opaque German Philosopher Martin Heidegger. But in Sartre's prose, abstract ideas were translated into demands for decision. "Man is free," he wrote. "The coward makes himself cowardly. The hero makes himself heroic...
...well as American jet-set. Maugham received hundreds of visitors there during his life, mostly men, later using many of them as material for his books and plays. Here, Morgan's style becomes lighter and slightly disjointed as he skips from one anecdote to another. Visitors included Noel Coward, Jean Cocteau, the Duke and Duchess of Windsor, and Gladys Stern, whom Morgan describes as "bursting fat." Morgan looks back to Maugham's youth, when he had to live in the unfashionable section of London and take the streetcar, instead of a taxi, to attend the smart dinner parties to which...
...Garden concertmaster began his own career at 16 as a classical violinist. Though he conducted London's Hotel Metropole Orchestra and his own Tipica Orchestra in concerts, BBC broadcasts and on records in the 1920s, '30s and '40s, and later became music director for Playwright Noel Coward, Mantovani was little known outside of Britain until 1951, when he created his silken "shimmering strings" effects and recorded the waltz Charmaine. The recording, monomaniacally promoted by a Cleveland disc jockey, triggered a Mantovani craze that turned his American concerts into sellout affairs and seven albums into gold (more than...
...Happy!! doesn't obscure Elvis's problems, though. Sometimes, as on "Love for Tender," he seems like a rock and roll Noel Coward. His lyrics often get tangled in their own trickery, he mixes metaphors, he uses personal pronouns interchangeably and his enunciation is appalling. (I realize that these are symptoms of most rock artists, but Elvis is above all that.) Often it's a major task to determine the subject of a song, and it may take weeks of intense listening to discern any coherence. But the songs deepen with each newly-discovered phrase, and the rewards are great...