Word: thundered
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Dates: during 1970-1979
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...Nixon, whipping boy for the soul of America, actually did some good those four years. The man was a sparring partner for a nation struggling against the fat of Bicentennial complacency, always offering his glass jaw as a sacrifice to a nation worried about whether it still held the thunder in its looping left hook. Only now he doesn't fall so easily...
...spectacles, a presidential campaign. Eyewitness to all these events, and more, Theodore H. White has produced a steady flow of distinguished reportage for four decades: stirring dispatches for TIME and LIFE magazines from Asia in convulsion; a bestselling book on the civil war that eventually brought Communism to Peking, Thunder out of China (1946); another on Western Europe's phoenix-like recovery from the devastation of World War II, Fire in the Ashes (1953); and then, after his return to a changed and changing U.S., the biggest hits of all, The Making of the President series...
...wife's medical expenses. He had not practiced, or owned a piano, for four decades. He had not even looked at the music, Liszt's lengthy, difficult Legendes, in more than half a century. Yet when his ringers touched the keys, there came a burst of musical thunder, exploding octaves and a bass of such power and sonority that the Baldwin threatened to shake apart...
...inequality of the friendship between man and master, as seen in Count Almaviva's failure to return Figaro's help in the second half of the play. That argument, however, would have little evidence to support it except the final chorus, which includes lines like, "But hear the thunder from the left, denouncing property as theft," and is sung to the tun of the British Labour Party's song ("The People's Flag is Deepest Red"). While there are other lines in the play that hint at a political interpretation--money breeds money, especially through corruption, we are told--these...
...story of a gentlewoman whose refusal to marry according to her father's wishes plunges her into a tangle of murder and deceit. It's not a deep play, and except for a few climactic moments the poetry isn't particularly inspired. But it is a thrilling blood-and-thunder melodrama. The Leverett House production succeeds when director Wendy Smith and the actors swallow their doubts and accept this fact, playing some of the gruesome scenes in a high-serious stage manner that would be hard to believe if it weren't so gripping...