Word: versions
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Dates: during 1990-1999
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...Clinton and to the flaw of disloyalty, to his wife and to others. I have always wondered why a man famous for F.O.B.s treated them so badly, and my guess is that he thinks there must be something wrong with anyone who would be loyal to him--a pathetic version of Groucho's joke about club membership--so he doesn't believe in loyalty any more than he believes in love. On the other hand, he has great faith in rejection, having experienced it when it counted most, thus he seeks and rejects simultaneously...
...Nixon during the 1972 election, and not only did she suggest that Tripp tape-record Lewinsky, but she has also been a tipster for Star, which broke the Gennifer Flowers story. According to Phil Bunton, Star's editor in chief, Goldberg came to him last fall with a sketchy version of the sex-with-an-intern tale. Star couldn't crack the story, but when it surfaced elsewhere, Bunton offered Goldberg big money for the tapes. "We made it clear that a million dollars wasn't out of the question." She turned him down, he says, demonstrating that some alleged...
...that most varieties of philandering by middle-aged big shots imply a willingness to use women in a way that suggests an exploitative attitude toward people in general. This offends the American democratic spirit, if not the French version...
...that Bleiler "is a former schoolteacher having sex with a teenager." Still, Giles maintains that Monica was "obsessed with sex. She went to Washington with the intent to have sex with the President." And, he charged, Monica had a "pattern of twisting facts, especially to enhance her own version of her self-image." Or, perhaps, to get closer to what she wanted. During her senior year at Lewis & Clark, Lewinsky allegedly drafted a fake letter to Bleiler on the college's letterhead suggesting that the school might offer him a job. At the bottom of the letter she forged...
...Reed and his estimable sidemen (bassist Reginald Veal and drummer Gregory Hutchinson) turn the familiarity of these old standards to their advantage. We think we know these songs, and then we're shown new colors and deeper shades; the result, for the listener, is surprise and delight. Reed's version of Maria travels through many moods and is, by turns, longing, wistful and celebratory. You'll Never Walk Alone takes the song into the church, using stately rhythms and forceful piano work to summon up spiritual power...