Word: sung
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Warred one for Right, and one for Wrong? So be it; but they both were young-Each grape to his cluster clung, All their elegies are sung. and this...
...year of student films, 1971 promises to be the year of Indian sagas. (And not surprisingly, the same liberal obtuseness shines through both. Consider Stuart Hagmann's Strawberry Statement. It has more in common with Soldier Blue than the rousing Buffy Sainte-Marie theme songs that are sung over the opening credits of each. For Strawberry Statement worked on the similar assumption that the only way an American audience would sit through a sympathetic treatment of student radicalism was to present the narrative through the eyes of a likeable, essentially apolitical adolescent.) Liberals take these all as hopeful signs. They...
...from the Saigon residence of U.S. Ambassador Ellsworth Bunker. Were things really going that badly? Certainly not. To celebrate the founding of the Saigon Yale Club, the famed Whiffenpoof Song (an adaptation of one of Rudyard Kipling's glamorizations of the white man's burden) was being sung by old Eli Bunker, class of '16, and some 15 others, among them a U.S. general who graced the occasion in a Y-inscribed blue T shirt. The ceremony was complete with derisive remarks about Harvard from the ambassador himself. Presumably the newest Yale Club is due for eventual...
...permitted to have sexual intercourse until she was 19; a man had to wait until he was 21-or longer, if he happened to be pale-complexioned. Those stalwarts who managed to abstain until they were 27 were to be paid homage at a public gathering, where hymns were sung in their honor. In John Bunyan's The Pilgrim's Progress, the voyager Christian can reach the Celestial City-which 17th century artists sometimes pictured as a snugly fortified medieval town-only by conquering the fleshly temptations celebrated by today's turned-on idealists. Sidestepping sleepy-eyed...
...attempt at "rock opera"; the closer "rock opera" comes to conventional opera, the more structured the form of the work has to be, and the more difficult it is effectively to employ rock music in the score; opera has to develop plot and characters verbally-with the words sung by the characters. The tendency, then, is for the music to become somewhat subordinate to, and tied to, the structure of the words. The Who's Tommy avoided the problem by keeping very close to pure rock performance; but Tommy's pretensions to being conventional opera are even weaker than Superstar...