Word: luca
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...Studs shows how eager people are to reduce their romantic lives to salacious gag lines, the syndicated That's Amore demonstrates how adept some folks are at turning marriage into sitcom material. Under the guiding hand of a dapper Italian host named Luca, couples restage their marital spats as if they were auditioning for a spinoff of Married . . . with Children ("You are ; the boss of nothing!" "Where were your brains -- your rear end?"). At the end of each episode, the audience selects a victor. But it matters little: the prize in either case is a "second honeymoon," so the couple...
Crime Story (NBC, 1986-88). Producer Michael Mann brought a flashy film-noir style to TV in Miami Vice, then perfected it in this brooding, operatic underworld drama. And Anthony Denison, as gangster Ray Luca, created the TV villain who, along with J.R. Ewing, loomed as the decade's most memorable...
...destroyed so much of his early work "to get all that modernist dirt out of my system." But it was abstraction that underwrote the system of Benton's later figurative paintings -- an abstraction based on bulging, serpentine figures derived from Michelangelo. From him, and from mannerist sources like Luca Cambiaso's block figures and El Greco's twisty saints, Benton assembled the theory of kinetic composition that would eventually alter the walls of the Midwest. It would alter abstract painting itself, since his preoccupation with surge and flow got across to Pollock and, much etherealized, led to Pollock's invention...
...mournful tune Bolcom heard whistled on the New York City subway and a riotous finale that is an homage to the late jazz fiddler Joe Venuti. Bright and accessible, the concerto is steeped in a popular idiom. "You don't have to tell people what it means," observes Luca, who is Rumanian born and Israeli raised. "The wonderful thing about playing it is that it is analogous to Mozart playing his works in Vienna. It is part of the lingo...
...ephemeral, so what? Tastes change, and each generation has the right to its own repertoire, if only it will exercise it. Classical music need not be so unrelentingly obsessed with its place in history. "Think of forgotten music that was played in the past with gusto and pleasure," says Luca, perhaps recalling the ghosts of Spontini and Spohr. "I am willing to take a chance that someone down the road will decide one day not to play the piece." And instead of a war-horse, play something...