He emanated a loose-jointed warmth, like someone who has just run a long distance.
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He moved with a loose-jointed Hawaiian casualness, never given to hurry, even and especially when instructed to hurry.
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True, the parties are very different institutions – the GOP has historically been hierarchical, with top-down direction and monolithic doctrine, while Democrats have always been a loose-jointed coalition.
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The story he told was a loose-jointed personal biography, spanning more than half a century — a classic show business fable of an ambitious hopeful from the sticks who conquers the Big Apple.
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The Philadelphia bar that gives its name to "Daphne's Dive," the warm-spirited if loose-jointed new play by Quiara Alegría Hudes, is the kind of place where everybody knows your name, to borrow a snatch of sitcom song.
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His loose-jointed, naked heroes and giants stride freely across boxes' edges, even from page to page in polyptychs, while the colors of his stagy green hills and star-dappled indigo skies often stop just shy of their outlines.
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But there can be no doubt that the slouchy, loose-jointed, atmospherically humid funk that they alchemized in the studio — specifically, Electric Lady Studios, in Greenwich Village — had a reach well beyond the scope of neo-soul, the inexact genre coalescing around them.
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On "Radiate," an excellent album from last year, he does so with the same loose-jointed, tight-focus ensemble that joins him here, featuring Jonathan Finlayson on trumpet, Jose Davila on tuba, Steve Lehman on alto saxophone, Stephan Crump on bass and Damion Reid on drums.
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Its show, "Hits Like You Never Heard," was loose-jointed and audience friendly to the extent that the group coaxed a shy audience member to join it for a performance of "Stand by Me." The lineup, which has changed over the years, now includes the high tenor Scott Leonard, the group's chief songwriter and arranger; the tenors Steven Dorian and Calvin Jones; the vocal percussionist and human beat box Jeff Thacher; and Ryan Chappelle, its bassist and newest member.
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The Boston Daily Globe described her specialty as "loose-jointed eccentric dancing" in 1922. She also appeared in the film Reaching for the Moon (1930), with Douglas Fairbanks Sr. and Bebe Daniels.
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Banner, unsure of where this works in, invites Ivy and Wesley to lunch. A redhaired girl snaps Ivy's picture, causing her to go loose-jointed, and faint. After she come to, Banner figures out she is pregnant. The next afternoon, Banner invites into Lang's office, Ivy, Wesley, Lang, and Letitia.
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He speculates based on this comparison that the Britons originated from different peoples, including the aforementioned Gauls and Spaniards. > The Silures have swarthy features and are usually born with curly black > hair, but the inhabitants of Caledonia have reddish hair and large loose- > jointed bodies. They [the Britons] are like the Gauls and the Spaniards, > according as they are opposite either nation. Hence some have supposed that > from these lands the island received its inhabitants.
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Reeves' performance was praised by The New York Times for "considerable discipline and range", adding, "He moves easily between the buttoned-down demeanor that suits a police procedural story and the loose-jointed manner of his comic roles". Writing for The Washington Post, Hal Hinson called Reeves the "perfect choice" and praised the surfing scenes, but opined that "the filmmakers have their characters make the most ludicrously illogical choices imaginable". At the 1992 MTV Movie Awards, Reeves won the Most Desirable Male award.
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The first English reviews were not encouraging. On 10 May 1952, an unnamed Times reviewer called the book "a slight and technically immature piece of work, loose-jointed and clumsy in construction to the point of amateurishness", though conceding that the book "leaves an impression of genuine talent". On 16 May the Times Literary Supplement called it "a quiet little story of much merit", while likewise considering its central literary device to be 'clumsy'. The US reviews were entirely different.
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Author George Plasketes described Bhatt's playing as "highly nuanced" and said, Cooder performs in a more "loose-jointed, slip 'n' slide style". According to Gioffre, Cooder and Bhatt use improvisation and "voice-like" phrasing, showing melodic performances in an alternating fashion and in unison. The album contains four tracks, three of which are credited to Cooder and Bhatt; tracks range in duration from approximately seven-and-a-half minutes to twelve minutes. "Longing" has a structure similar to a raga.
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But the best thing about it is its principals, Mr. Fonda and Miss Stanwyck. He, with his loose-jointed blunderings and charming diffidence, and she with her forthright manner and ability to make a man forget are a right team for this sort of dalliance. You Belong To Me is a bit of well-turned fun."You Belong To Me Review, The New York Times, November 1941 Variety also praised the performances of Fonda and Stanwyck, which "merit fulsome praise.
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In 1903, while waiting for a train in Tutwiler, in the Mississippi Delta, Handy had the following experience: > A lean loose-jointed Negro had commenced plunking a guitar beside me while I > slept ... As he played, he pressed a knife on the strings of the guitar in a > manner popularized by Hawaiian guitarists who used steel bars. ... The > singer repeated the line three times, accompanying himself on the guitar > with the weirdest music I had ever heard.Handy, W. C. (1941). Father of the > Blues: An Autobiography.
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A 1991 article from the Albuquerque Journal described East Central as "a loose-jointed carnival of sex, drugs and booze" with drug dealers and prostitutes operating openly. Violent crime was a problem as well, with 34 homicides recorded in southeast Albuquerque in 1996 (more than half of the city's total) and 11 in Trumbull Village alone. In 1997, the city put up barricades in the neighborhood to make it harder for criminals to get in and out. Eventually, thanks in part to efforts by neighborhood residents, the crime rate decreased and the barricades were removed.
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His years at law school influenced the logic and diction of his work, especially his early work, although over time, Huerta would abandon the formats of his youth entirely. Huerta differed from others in his generation in that instead of moving towards romanticism and symbolism, his poetry evolved towards the use of analogy, colloquial realism (influence from José Emilio Pacheco) and less academic, more colloquial style, an “anti- poem.” His work has been described as “…bringing a loose-jointed exuberance into Mexican poetry.” Several themes are recurrent in Huerta's work.
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A tall, wiry, loose-jointed young man, with unkempt hair and the general demeanour of a caged eagle, Mr Windsor is a native of Wyoming, who comes to New York to further his career as a journalist. In Psmith, Journalist, he and Psmith become friends, and work together to improve the city. He grew up on his father's ranch in Wyoming, and became a reporter for a tough local paper. After four years on a Kentucky daily, he made for New York, where he struggled as a freelance for a time, before taking the post of sub-editor on Cosy Moments.
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With work you could assemble any dozen jottings into a free-wheeling adventure like the loose-jointed Arabian Nights tales, where one thing follows another without much logic. But not much of Land of Fate matches the screwy imagination of the best Nights tales. At times the designer's creativity clearly flags, such as in this candid beginning to an entry describing the secrets of Hilm: "The City of Kindness is boring." And, as with the rulebook, there is no hint in all these pages of how to develop these jottings into a memorable, characteristically Arabian campaign.
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He moves easily between the buttoned-down demeanor that suits a police procedural story and the loose-jointed manner of his comic roles." Entertainment Weekly gave the film a "C+" rating and Owen Gleiberman wrote "Point Break makes those of us who don't spend our lives searching for the ultimate physical rush feel like second-class citizens. The film turns reckless athletic valor into a new form of aristocracy." In his review for The Washington Post, Hal Hinson wrote "A lot of what Bigelow puts up on the screen bypasses the brain altogether, plugging directly into our viscera, our gut.
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His research on women participating in athletics showed that different training techniques were needed by women, who he found were more loose-jointed and more susceptible to certain injuries, such as dislocated shoulders. His works on the subject include the 1986 "The Menstrual Cycle and Physical Activity" and 1988's "Sport Science Perspectives for Women". Dr. Brown researched the use of performance- enhancing drugs by athletes and served with the International Association of Athletics Federations and other organizations worldwide to develop anti-doping standards. He started working with the Ladies Professional Golf Association in January 2008 on protocols for testing professional golfers for drug use.
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" In USA Today, Susan Wloszczyna wrote, "If you've ever had a job, you'll be amused by this paean to peons." Owen Gleiberman in Entertainment Weekly gave the film a "C" rating and criticized it for feeling "cramped and underimagined". In his review for The Globe and Mail, Rick Groen wrote: "Perhaps his TV background makes him unaccustomed to the demands of a feature-length script (the ending seems almost panicky in its abruptness), or maybe he just succumbs to the lure of the easy yuk...what began as discomfiting satire soon devolves into silly farce." In his review in The New York Times, Stephen Holden wrote, "It has the loose-jointed feel of a bunch of sketches packed together into a narrative that doesn't gather much momentum.
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Handy and his family lived there for six years. In 1903, while waiting for a train in Tutwiler, in the Mississippi Delta, Handy had the following experience: > A lean loose-jointed Negro had commenced plunking a guitar beside me while I > slept...As he played, he pressed a knife on the strings of the guitar in a > manner popularized by Hawaiian guitarists who used steel bars...The singer > repeated the line three times, accompanying himself on the guitar with the > weirdest music I had ever heard.Handy (1941). p. 74."Waiting for the Train > at Tutwiler", Triple Threat Blues Band, archived 4 June 2011 About 1905, while playing a dance in Cleveland, Mississippi, Handy was given a note asking for "our native music".
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Prompted by this showing, the art historian Matthew Baigell reflected on Rand's accomplishments in a 2009 article: > He is arguably the best known, most important, the most imaginative, and the > most prolific ... as well as the artist most willing to take risks ... He > became the most creative and outspoken proponent of a Jewish-themed art in > America ... He has articulated in both words and images to a greater extent > than anybody else a loose-jointed attempt to assure the viability, > visibility and continuity of this art. In an article on a 2011 exhibition of Rand's "Had Gadya" series, David Kaufmann wrote: > Archie Rand paints a lot, paints big, and paints complex. Since his first > gallery exhibition in 1966-- when he was only 16-- he has been recognized as > a prodigiously talented artist.
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Variety said that the film "... has many elements that are derivative of a Hitchcock chase film, the late Mike Todd's "Around the World in Eighty Days", and the Cinerama travelogue technique ... The travelog is neatly integrated as part of the chase." The New York Times said: > As theatrical exhibitionism, it is gaudy, sprawling and full of sound. But > as an attempt at a considerable motion picture it has to be classified as > bunk... It is an artless, loose-jointed "chase" picture... Whatever novel > stimulation it might afford with the projection of smells appears to be > dubious and dependent upon the noses of the individual viewers and the > smell-projector's whims... Indistinct is the right word for the whole silly > plot of the film and the casual, confused performance of it, which is > virtually amateur. Except for the job of Peter Lorre... the acting is > downright atrocious.
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An 1890s photo of the tourist steamer Okahumke'e' on the Ocklawaha River, with black guitarists on board Blue notes pre-date their use in blues. English composer Samuel Coleridge-Taylor's "A Negro Love Song", from his The African Suite for Piano composed in 1898, contains blue third and seventh notes.Scott, Derek B. From the Erotic to the Demonic: On Critical Musicology. Oxford University Press, (2003) p. 182: "A blues idiom is hinted at in "A Negro Love-Song", a pentatonic melody with blue third and seventh in Coleridge-Taylor's African Suite of 1898, many years before the first blues publications." African American composer W. C. Handy wrote in his autobiography of the experience of sleeping on a train traveling through (or stopping at the station of) Tutwiler, Mississippi around 1903, and being awakened by: > ... a lean, loose-jointed Negro who had commenced plucking a guitar beside > me while I slept.
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Richardson wrote how "Fleming's method is worth noting, and recommending: he does not start indulging in his wilder fantasies until he has laid down a foundation of factual description." Elements of a review by Raymond Chandler for The Sunday Times were used as advertising for the novel; Chandler wrote that it was "about the nicest piece of book-making in this type of literature which I have seen for a long time ... Mr. Fleming writes a journalistic style, neat, clean, spare and never pretentious". Writing in The New York Times, Anthony Boucher—described by Fleming's biographer John Pearson as "throughout an avid anti-Bond and an anti-Fleming man"—was mixed in his review, thinking that "Mr. Fleming's handling of American and Americans is well above the British average", although he felt that "the narrative is loose-jointed and weakly resolved", while Bond resolves his assignments "more by muscles and luck than by any sign of operative intelligence".
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In Now and Then Buechner reflects on the themes that run through the Bebb novels. Concerning his departure into a first person narrative and the injection of comedy into his prose, the author writes: > [F]or the first time as a novelist I used the device of a first-person > narrator, and although Antonio Parr was by no means simply myself in thin > disguise – our lives had been very different; we had different > personalities, different ways of speaking – just to have a person telling > his own story in a rather digressive, loose-jointed way was extremely > liberating to me as a writer. For the first time I felt free to be funny in > ways that I hadn't felt comfortable being in print before, to let some of my > saltier-tongued characters use language that before had struck me as less > than seemly in a serious work of fiction, to wander off into quirkish > reminiscences and observations that weren't always directly related to my > central purpose.Buechner, Frederick (1983).
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