SCOTT The one wild card, maybe, in this deck, is popular taste.
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Thanks to showmanship and an instinct for popular taste, the operation expanded.
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Popular taste, the authors argue, has consequently become both more fragmented and more volatile.
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Wealthy pastors are seen as blessed and their entertaining, informal services cater to popular taste.
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Aesthetic quality may be absolute (or not!), but popular taste, especially when it comes to new things, is notoriously fickle and contingent.
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Also, if I say that I want to live and die by the popular taste, people can only do that for so long.
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Even "Downton Abbey," supposedly an exemplar of popular taste for refined drama in the Digital Age, is in fact a very hyper-paced entertainment.
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Roberto Marinho, a media mogul who died in 2003, helped make and break governments—and shaped popular taste with his television channel's wildly popular telenovelas.
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Both men, moreover, had a self-proclaimed gift for reaching over the heads of the bien-pensants and answering to popular prejudice and popular taste.
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There are perhaps no musicians whom history has trampled over so forcefully as electronic producers, who are disproportionately burdened by whipsaw shifts in popular taste.
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But Mr. White's reputation was largely built on his willingness to get behind the nutty, the sexy, the outrageous — challenging shows that pushed the envelope of popular taste in one way or another.
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"Kapilow astutely surveys the radical changes in popular taste in the 1960s and '70s that dislodged the Broadway musical from its once-central place in American culture," Todd S. Purdum writes in his review.
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Pinpointing ten-year trends is an inexact endeavor precisely because the arc of popular taste is only noticeable when it's over or, as with the case with entertainment in the 2010s, never seems to end.
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In the media the formula signals a determination to ignore popular taste: the People's Daily makes no more effort to appeal to its Chinese readers than Pravda did to tell the truth to its Soviet ones.
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But when political operatives want to turn him into a candidate for election, he refuses to flatter popular taste, and the starving Roman citizens, whipped into an anti-elite frenzy by sinister tribunes, turn against him.
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Despite its nods to the past and concessions to popular taste, this was a concert less concerned with the conditions that made jazz possible and more interested in what jazz's influence and example might yet make possible today.
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Blockbuster was ruled by popular taste (movies out now and classics), the taste of its customers (requests), and its employees (staff picks), which are three distinctly human layers that made it possible to discover new things in a curated setting.
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Beyond the pendular swing of popular taste, the design world — and in particular the fashion industry — underwent major technological and cultural changes in the late '00s and early '10s, warping the lines we try to draw between the economy and design.
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It also had become home to a very specific strain of popular taste: Seven of the last eight winners were young, guitar-music-inclined white men who went from awkward and unpolished at the beginning of the season to reasonably smooth at the end.
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As old media dies, gatekeepers of cultural sensibilities and etiquette have been overthrown, notions of popular taste maintained by a small creative class are now perpetually outpaced by viral online content from obscure sources, and culture industry consumers have been replaced by constantly online, instant content producers.
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Despite becoming known later in her life as a defender of popular taste in movies, a defender of visceral reactions, she had larger questions about them: about the quality of the ideas they represented, about the way they fitted into the larger puzzle of both cultural and intellectual life in America.
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More compelling is a late chapter, "Rock and Roll, Broadway and the Me Decade," in which Kapilow astutely surveys the radical changes in popular taste in the 1960s and '70s that dislodged the Broadway musical from its once-central place in American culture, yet simultaneously fostered the full flowering of Sondheim's unique genius as the leading third-generation example of outstanding songwriters who had begun their work in their teens and 20s.
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Popular taste changed with the advent of Modernism, affecting the types of photographs that he produced.
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It was a sort of necessary concession to despotism; popular taste was not in general offended by it.
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The Adam and Regency revivals, however, lost mainstream momentum after World War I, being replaced by Art Deco in popular taste.
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The shows were unhampered by attempts to conform to a particular artistic tradition and thus provide a valuable index to evolving popular taste.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The memorial was constructed at an early phase of the history of war memorials in the state. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The memorials manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.
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This is possible; but it is at least as likely that Jáuregui unconsciously yielded to the current of popular taste, with no other intention than that of conciliating the public of his own day.
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Adult Manga: Culture and Power in Contemporary Japanese Society. Honolulu: University of Hawai'i Press. . According to Sharon Kinsella, the booming Japanese publishing industry helped create a consumer- oriented society in which publishing giants like Kodansha could shape popular taste.
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In any case, the dramatic aspects of his short life and violent death still appeal to popular taste, and he remains an icon of teenage rebellion and nonconformity. The mythologizing of his story continues with new works in various media.
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In addition, popular taste was embracing vintage design. Some vintage Fiesta casting moulds designed by Rhead were used in production of the new ware. Most shapes had to be slightly altered, or completely redesigned to meet the requirements of the new materials.
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The Neglected Books Page is a book review website. The site features reviews of books that have been, according to the site, "neglected, overlooked, forgotten, or stranded by changing tides in critical or popular taste." The site was founded in 2006. Volume 256 Issue 5.
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Schmetterlinge (Butterflies), c. 1860 (destroyed in 1945). The painter's last period brings no new departure; his ultimate works stand conspicuous by exaggerations of early characteristics. The series of designs illustrative of Goethe, which had an immense success, were melodramatic and pandered to popular taste.
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Reflecting the change in popular taste, the Academy building was torn down to make way for the Capitol Theatre, a movie house. The old-style cinema was itself subject to obsolescence, and in the 1970s demolished to make way for an office building (the Maritime Centre).
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At the 1984 Carnival, Imperial became famous for releasing the notes of the jurors in the parades of the samba schools in Rio. Every time a maximum score was awarded he exclaimed loudly "dez, nota dez" ("ten! ten points!"). This sentence appealed to popular taste, gaining him real support.
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The Shubert family was responsible for the establishment of the Broadway district, in New York City, as the hub of the theatre industry in the United States. They dominated the legitimate theater in vaudeville in the first half of the 20th century, promoting entertainment attuned to the popular taste.
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And he ensured that neither character, contrary to many an Aesthetic Pierrot, would be amorously disappointed. In a more bourgeois vein, Ethel Wright painted Bonjour, Pierrot! (a greeting to a dour clown sitting disconsolate with his dog) in 1893. And the Pierrot of popular taste also spawned a uniquely English entertainment.
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In 1877, an impressive new factory was built by new owners of the Crown Derby name in Osmaston Road, Derby, thus beginning the modern period of Derby porcelain. Crown Derby's patterns became immensely popular during the late Victorian era, as their romantic and lavish designs exactly met the popular taste of the period.
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Lock 1979, pp. 132–3. Satirist Alexander Pope found her writings offensive for political and religious reasons, and thought them a threat to greater dramatists by pandering to popular taste. He assumed that she had helped with Edmund Curll's anti-Catholic pamphlet The Catholic Poet: or, Protestant Barnaby's Sorrowful Lamentation.Lock 1979, p. 29.
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In reviving novelist Anthony Hope's swashbuckler The Prisoner of Zenda, David O. Selznick took a calculated risk as to popular taste. That leading man Ronald Colman was under contract to Selznick was the key factor in proceeding with the project.Canham, 1976 p. 80: Selznick would not have made the film without Colman.
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Popular taste has developed, however, to become closer to the European norm, and consumption of vegetables has greatly increased in recent decades while consumption of fish has diminished. Fresh and ræst lamb meat remains very popular while traditional meat products, such as various types of sausages, have lost much of their appeal with younger generations.
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Schwartz, Missy (December 12, 2003). "'Buffy the Vampire Slayer': Season Five (2003)", Entertainment Weekly (Time Warner). Although the episode received positive reviews, it was not nominated for any Emmy awards. Rhonda Wilcox attributes this to the Emmys being a "bastion of conservative popular taste", automatically rejecting television shows in the fantasy/science fiction genres.
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A line of "whiteware" for table use was added. Like most pottery of the time, it was susceptible to "crazing" - small cracks in the glazed surface. The company struggled along until 1871 at which time Onondaga Pottery Company was organized and took over. Popular taste demanded a finer ceramic tableware than the heavy pottery made by these companies.
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Her work responded to the popular taste of the time for gothic fiction, social satire and stories of moral progress, with stereotypical women as her characters: nuns are gothic, wives harangue, mothers are fussy and old maids bad-tempered. A portrait of Ann in 1835 (at the age of 71) by William Watkeys is held in Swansea Museum. She died in Swansea.
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In the late nineteenth century, orientalism was in vogue. Colonialism brought awareness of Asian and African cultures, but distorted with disinformation and fantasy. The East was often perceived as a faraway place where anything was possible, provided it was lavish, exotic and decadent. Petipa appealed to popular taste with The Pharaoh's Daughter (1862), and later The Talisman (1889), and La Bayadère (1877).
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The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. This particular memorial is rare as it also commemorates those who fell in the Boer War. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. This memorial is unique as the only digger statue in Queensland in an animated pose. The place is important in demonstrating the principal characteristics of a particular class of cultural places.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. The memorial is an unusual design and is the only one of its type in Queensland. The place is important in demonstrating the principal characteristics of a particular class of cultural places.
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He urged her to write a book for him, which she did, and it was an immediate success, and was republished at once in England and Canada. The name of that book was My Opinions and Betsy Bobbet's (Hartford, 1872). Her next book, Samantha at the Centennial, appeared in 1877, and at once pleased the popular taste. The Wayward Pardner appeared in 1880.
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A third Boer War Memorial was unveiled in Brisbane at a much later date. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste. The Gatton Boer War Memorial demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event.
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Its design is unique in Queensland and possibly in Australia. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The memorial at Gatton demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Unveiled in 1940, the war memorial at Goomeri demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. The place is important because of its aesthetic significance.
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They manifest a unique documentary record and are demonstrative of popular taste in the post war periods. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. Avenues of trees were uncommon in Queensland, a form of memorial favoured by the southern states and in particular rural Victoria. The place is important in demonstrating the principal characteristics of a particular class of cultural places.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Opened in 1921, the memorial bridge at Brooweena was erected as an enduring record of a major historical event. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. It is rare as the only known privately erected memorial bridge in Queensland and possibly in Australia.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Erected in 1949, the memorial at Bundaberg demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. The place is important because of its aesthetic significance.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. War memorial fountains of this scale are uncommon in Queensland, however water is a popular symbolic element suggesting renewed life and cleansing. It is rare as a war memorial with imagery not found on other memorials.
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The Idler, generally catered to the popular taste, printing light pieces and sensational fiction. The magazine published short stories, serialised novels, humour pieces, poetry, memoirs, travel writing, book and theatre reviews and interviews. It also included a monthly feature called 'The Idlers' Club,' in which a number of writers would offer their views on a particular topic. Most of The Idler's contributors were popular and prolific writers of the time.
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Consequently, members of the middle classes appeared to practice "cultural goodwill" in emulating the high-class manners and lifestyles. The taste of the middle classes is not defined as much by authentic appreciation for aesthetics as by a desire to compete in social status. In contrast, the popular taste of the working classes is defined by an imperative for "choosing the necessary". Not much importance is placed on aesthetics.
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The Folies Bergère catered to popular taste. Shows featured elaborate costumes; the women's were frequently revealing, practically leaving them naked, and shows often contained a good deal of nudity. Shows also played up the "exoticness" of persons and objects from other cultures, obliging the Parisian fascination with the négritude of the 1920s. In 1926 the facade of the theatre was given a complete make-over by the artist Maurice Pico.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Unveiled in 1919, the memorial at Booval demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.
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The Gatton memorial was constructed at an early phase of the history of war memorials in the state. After World War I, the construction of war memorials was prolific. In 1908, when this memorial was unveiled, they were still quite rare. Australian war memorials are valuable evidence of imperial and national loyalties, at the time not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste.
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Jerry Stagg identifies Lee Shubert as the key creative partner, showing how he built the most successful theatrical empire in history. Stagg characterizes the trio as vulgar and uneducated , but acknowledges that they made a personal monopoly amassing millions of profits in the process. They opened new theater districts in many major American cities, employing thousands over the years. Entertainment and popular taste was the goal, rather than the dramatic arts.
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Avenues of trees as memorials, and particularly those where each tree is attributed to a particular fallen serviceman are uncommon in Queensland. Most memorials erected during or after the First World War were of the monumental type. The place is important in demonstrating the principal characteristics of a particular class of cultural places. They manifest a unique documentary record and are demonstrative of popular taste in the inter- war period.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Erected in 1923, the war memorial and gates at Warwick demonstrate the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the setting and the appropriate use of various symbolic elements. The place is important because of its aesthetic significance.
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Butcher's work received little notice outside of Nebraska during his lifetime. Although there was a market for photos depicting the romance of the Wild West, the public preferred mountains and canyons to open prairie. Later in his life, popular taste inclined toward the modern and the sophisticated; images of rustics gathered around sod houses were out of fashion. His photographs had little to recommend them from an artistic standpoint.
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The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. This particular statue is of aesthetic value, both for its prominence as a landmark in the town and for its unusual pedestal design and inscription. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.
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35, available here During the Civil War and early Francoism Pérez de Olaguer emerged among more popular writers; some of his works were re- printed 4 times,La Vanguardia 14.06.67, available here Más leal was continuously staged commercially and occasionally he kept attending literary juries.La Vanguardia 23.05.51, available here He remained an author catering to popular taste and was rewarded by the public rather than by critics and awards.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The memorial at Dalby demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The place is important in demonstrating the principal characteristics of a particular class of cultural places. Erected in 1924, the memorial at Aramac demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.
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The flavor was designed to duplicate the popular taste of chili made by cowboys and loved by everyone in the area. As the word spread and its reputation grew from winning chili recipe contests, Mexene's brand awareness and distribution grew along with it. Today, Mexene is manufactured in El Paso, Texas by Bruce Foods. The original recipe and manufacturing process remain the same as they were in 1906.
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In 1987 they released their first album A Letter From St. Paul, which included "Painted Moon" and another minor hit, "I See Red." Buoyed by the huge European hit "Bulletproof Heart", the band's third album Dance to the Holy Man is the band's commercial peak to date. Throughout the 1990s, The Silencers saw a popular taste shift away from their songwriter-based style of music toward grunge and electronic music.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. The major regional memorial is an uncommon example of one that is still situated in an original and intact setting and records local participation in the South African Boer War as well as the First World War. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Erected in 1921, the memorial at Bundaberg demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements. As a digger statue it is representative of the most popular form of memorial in Queensland The place is important because of its aesthetic significance.
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When the play opened on 1 October, the music was dismissed by critics as too complex for popular taste. However, encouraged by Reyer and Massenet, Bizet fashioned a four-movement suite from the music,Curtiss, pp. 332–40 which was performed under Pasdeloup on 10 November to an enthusiastic reception. In the winter of 1872–73, Bizet supervised preparations for a revival of the still-absent Gounod's Roméo et Juliette at the Opéra-Comique.
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Hoadly was fond of the stage, and was author of The Suspicious Husband, a comedy, which was first acted at Covent Garden Theatre on 12 February 1747. David Garrick wrote a prologue for it, and acted the part of Ranger. It hit the popular taste, was often repeated on the stage, and was published in 1747 with a dedication to the king. The critics Samuel Foote and John Genest also praised it.
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As a magazine writer, Melville was a better judge of popular taste than he recently had been as a novelist, Sealts finds. He read contemporary newspapers and magazines, and paid careful attention to what they were carrying. By studying the contents, Melville "learned to pattern his own pieces accordingly, with respect to both form and content."Sealts (1988), 87 A number of the pieces contain references to persons, places, and events Melville witnessed himself.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Erected in 1921, the memorial at Finch Hatton demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Erected in 1924, the war memorial at Charleville demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.
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The monument provides a unique documentary record of the fallen, and demonstrates popular taste of the inter-war period. The place is important in demonstrating the principal characteristics of a particular class of cultural places. Unveiled in 1920, the memorial at Oxley demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Unveiled in 1919, the memorial at Ipswich Railway Workshops demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through use of appropriate materials and design elements.
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This statue is the most notably alien of all the imported statues on Queensland war memorials. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Erected in 1921, the memorial at Howard demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event.
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It is unique in that lists an aboriginal amongst those who died in service. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. Unveiled in the early 1920s, the memorial at Herberton demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event.
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The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. This memorial is of particular significance as it is one of the few clock type war memorials and the only one of this style in Queensland. The place is important in demonstrating the principal characteristics of a particular class of cultural places.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. It demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the use of appropriate materials and design elements The place is important because of its aesthetic significance.
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Demolishing Johnson Brothers Pottery, Etruria, Staffordshire, 2004. Despite this award, the late 1960s saw changing popular taste, rising competition and spiralling production costs which led Johnson Brothers to curtail further expansion. In 1968, in order to remain competitive, Johnson Brothers joined the Wedgwood Group. This was the period during which the popular "Summerfields" range was produced: a white background with pink flowers and buds around the lip, finished with a grey foliage and a black non-complete edging line.
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Gian Carlo Menotti (, ; July 7, 1911 – February 1, 2007) was an Italian- American composer and librettist. Although he often referred to himself as an American composer, he kept his Italian citizenship.The New York Times, February 2, 2007 He wrote the classic Christmas opera Amahl and the Night Visitors, along with over two dozen other operas intended to appeal to popular taste. He won a Pulitzer Prize twice, for The Consul (1950) and for The Saint of Bleecker Street (1955).
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The changes illustrate the evolution of popular taste through the nineteenth century. The White-Pound house is significant under the National Register Criterion C as an important example of Lockport's mid-nineteenth-century domestic architecture. The refined masonry treatment at the house's main facade is enhanced by prominent beaded joints dressed stonework at the base of the entry porch. The White-Pound house is south of the city's central business district on the east side of Pine Street.
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Some products he touted are still sold, including the President's Choice Decadent Chocolate Chip Cookie, which was introduced in 1988. In 1994, Anne Kingston released his authorized biography, The Edible Man: Dave Nichol, President's Choice & the Making of Popular Taste. Nichol's relationship with Galen Weston Sr. had broken down when he departed Loblaws in 1994, but they later reconciled and Nichols consulted for Galen Weston Jr. who succeeded his father as head of Loblaw Companies Ltd. in October 2006.
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Because of the history of settlement in a harsh climate, animal products dominate Icelandic cuisine. Popular taste has been developing, however, to become closer to the European norm. As an example, consumption of vegetables has greatly increased in recent decades while consumption of fish has diminished, yet is still far higher than any other developed country at about quadruple the average.Tillaga til þingsályktunar um aðgerðir til að bæta heilbrigði Íslendinga með hollara mataræði og aukinni hreyfingu.
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The need to adjust the piano sound to popular taste are the reason of Chiquinha Gonzaga's glory to become the first popular composer of Brazil. During this time she composed her first success, the polka "Atraente", in 1877, “composed by the piano, as an improvisation, during a ‘choro’ meeting”. At that time, she was famous but highly criticized by the masculine society of her time. In 1884, she composed the waltz "Walkyria", considered one of her most beautiful waltzes.
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The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period. The memorial at Sarina demonstrates the principal characteristics of a commemorative structure erected as an enduring record of a major historical event. This is achieved through the appropriate use of various symbolic elements including the digger statue, lists of the fallen and commemorative phrases.
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The place possesses uncommon, rare or endangered aspects of the cultural or natural history of New South Wales. The Macquarie Lightstation precinct, even though little physical evidence survives, is of rare architectural significance. Its original architectural configuration can be understood from the evidence on site, below ground and the early descriptions and images. The Palladian composition, the walled compound, and the corner lodges with chinoiserie detail in the roofs, all conform to the then popular taste.
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The place demonstrates rare, uncommon or endangered aspects of Queensland's cultural heritage. This particular memorial is a rare example of a war memorial which was privately commissioned and then donated as a public memorial, and later supplemented by another major private donation. The place is important in demonstrating the principal characteristics of a particular class of cultural places. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.
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Semele is an opera by John Eccles, written in about 1706 with a libretto by William Congreve drawing on the Semele myth from Ovid's Metamorphoses. It forms part of the English opera tradition of Blow's Venus and Adonis, but was never staged due to changes in popular taste at the time. Indeed, the opera remained unperformed until the mid twentieth century, eclipsed by George Frideric Handel's 1744 secular oratorio of the same name, based on the same libretto.
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Australian war memorials are valuable evidence of imperial and national loyalties, at the time not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. Although there are now many different types of memorials throughout Queensland there are few Boer War Memorials. Amongst these, other Brisbane memorials include the Caskey Monument (1902) in Toowong Cemetery, the Berry and MacFarlane Monument (1902) at Sherwood and the South African War Memorial (1919) in Anzac Square, Brisbane.
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Poems (New York, 1887), revealed strength and tenderness, but failed to suit the popular taste because they were wanting in the grotesque humor and pathetic homeliness of style which characterized her prose works. Samantha Amongst the Brethern, appeared in 1891. After Holley became a successful novelist, she built a mansion called "Bonnie View" near her family's home in Pierrepont. She wrote over 25 books, including one collection of poems, two dramas and one long poem, between 1873 and 1914.
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America remained a zone of piracy until the mid-nineteenth century, a fact of which Charles Dickens and Mark Twain bitterly complained. By the middle of the 19th century, a situation akin to modern publication had emerged, where most bestsellers were written for a popular taste and are now almost entirely forgotten, with odd exceptions such as East Lynne (remembered only for the line "Gone, gone, and never called me mother!"), the wildly popular Uncle Tom's Cabin, and Sherlock Holmes.
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This venture was followed by the very cheap editions of Pushkin's, Gogol's and Tolstoy's works. After their authors' rights expired, Sytin compressed their entire works into one volume that cost as little as 90 kopecks. He was the first publisher to reach the peasants all over Russia and to shape popular taste in the entire country. Maxim Gorky called Sytin the de facto "minister of people's education" whose calendars and leaflets "cut down at least by half the number of relapses into illiteracy".
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His style changed to accord with popular taste. In Aeneas Relating to Dido the Disasters of Troy (Louvre), Guérin adopted a more sensuous, picturesque style. Aeneas tells Dido about the fall of Troy, 1815. Guérin was commissioned to paint for the Madeleine a scene from the history of St Louis, but his health prevented him from accomplishing what he had begun, and in 1822 he accepted the post of director of the French Academy in Rome, which in 1816 he had refused.
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He was made a Chevalier of the Legion of Honour in recognition of a painting sent to the Paris International Exhibition of 1878. Collier was industrious, retiring and often in poor health, yet financially independent, able to work without pandering to popular taste and to travel at will into the Suffolk countryside. In 1879 he arranged for the construction of a large house and studio in Hampstead where he spent his days painting and entertaining artist friends.Thomas Collier - Biography (handprint.com).
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The Bandstand in Queen's Park, erected in 1890 demonstrates the growth of Maryborough in the late nineteenth century. War Memorials are important in demonstrating the pattern of Queensland's history as they are representative of a recurrent theme that involved most communities throughout the state. They provide evidence of an era of widespread Australian patriotism and nationalism, particularly during and following the First World War. The monuments manifest a unique documentary record and are demonstrative of popular taste in the inter-war period.
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In Brazil, roller in-line hockey is the most popular form of hockey, unlike ice hockey that is still dependent on infrastructure. Brazilians that practices hockey, mostly practices the roller in-line hockey. The main world championships of Ice Hockey are transmitted through cable TV in the country, among them the NHL played between teams of Canada and the United States, and the European League. Despite this, the modality finds difficulties in falling in the popular taste of the country.
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The back of the retable, which would have been invisible, is painted as imitation porphyry. Much of the retable is lost beyond recovery. The painting is of very high quality, probably by an artist used to working on illuminated manuscripts, to judge by the fine detail of the work, and some stylistic details. In its position on the high altar the detailed images would only have been clearly visible to officiating clergy, and no concessions were made to more popular taste.
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The Committee produced approved designs which were published in the Utility Furniture Catalogue of 1943. The aim was to ensure the production of strong, well-designed furniture which made efficient use of timber. The Arts and Crafts movement influenced the designs, which were considered to be simplistic due to their lack of decoration (which was contrary to popular taste of the immediate pre-war period). Furniture based on these designs was constructed by about 700 firms around the country, with quality varying between manufacturers.
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A bout of typhoid fever among the Copeau and Jouvet children and fear of the Spanish influenza added to the consternation. The second season opened with a piece by Henri Bernstein, Le Secret, which had already played on Broadway. But Copeau was made aware that he needed to bow somewhat to popular taste if the Vieux-Colombier was to succeed financially. The second offering of the season--Pierre Beaumarchais's Le Mariage de Figaro--proved to be both a critical and popular success and maintained Copeau's standards.
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Other composers, such as Tomás Bretón and Ruperto Chapí, wrote smaller zarzuelas known as género chico which were farces in one-act. These farcical operas often contained social or political satire and usually contained less music and more spoken dialogue than other forms of zarzuela. The género chico reached its height of popularity in the 1880s and 1890s with composer Federico Chueca. In the 20th century the zarzuela evolved with popular taste, though the mixture of spoken play and operatic music in roughly equal proportions remained.
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The place has potential to yield information that will contribute to an understanding of Queensland's history. The war memorial is important as a documentary record of those who volunteered for war service in the Apple Tree Creek area as other records are generally organised by name or unit, making it difficult to determine the origin of individuals. The place is important in demonstrating the principal characteristics of a particular class of cultural places. It is also a demonstration of popular taste in the inter-war period.
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War memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting. They also demonstrate the skills of local stonemasons, metalworkers and architects, and provide insights into popular taste. Allora, Queensland Although there are many different types of memorials in Queensland, the digger (soldier) statue is the most common. It was the most popular choice of communities responsible for erecting the memorials, embodying the ANZAC Spirit and representing the qualities of the ideal Australian: loyalty, courage, youth, innocence and masculinity.
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Ten consecutive performances constituted a smash hit. This closed system forced playwrights to be extremely responsive to popular taste. Fashions in the drama would change almost week by week rather than season by season, as each company responded to the offerings of the other, and new plays were urgently sought. The King's Company and the Duke's Company vied with one another for audience favour, for popular actors, and for new plays, and in this hectic climate the new genres of heroic drama, pathetic drama, and Restoration comedy were born and flourished.
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Critic and writer Edgar Allan Poe acknowledged the popularity of Morris's songs, "which have taken fast hold upon the popular taste, and which are deservedly celebrated". In April 1840, Poe wrote that Morris was "very decidedly, our best writer of songs—and, in saying this, I mean to assign him a high rank as poet".Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001: 169. Willis wrote of Morris: "He is just what poets would be if they sang like birds without criticism... nothing can stop a song of his".
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Thus, it is termed "dysfunctional" as it indicates the inherent dysfunction of both mass media and social media during controversial incidents and events. The theory assumes that it is not in the best interests of people to form a social mass that is politically apathetic and inert. The term narcotizing dysfunction was identified in the article "Mass Communication, Popular Taste and Organized Social Action", by Paul F. Lazarsfeld, and Robert K. Merton. Mass media's overwhelming flow of information has caused the populace to become passive in their social activism.
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It was more in line with popular taste, as similar songs like "Cutie Honey" by Ahyoomee (from Sugar) and "Love Me Love Me" from Lee Ji-hye (formerly of S#arp) were doing well. This song managed to perform well on the Korean music charts, and the music video also became number one for three weeks. In addition to promoting her single, she has also assisted Eru's performances of his second album comeback single, "까만 안경" (Ggaman Angkyung, "Black Glasses"). Singer Eru releases new album, recruits Bae Seul Ki to help promote.
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This work was originally written for the children at Blackfriars, and was later taken over (perhaps stolen) by the Kings' Men at the Globe, with additions by John Webster and (perhaps) Marston himself. George Chapman: co- author (with Marston and Jonson) of Eastward Ho! Marston's second play for the Blackfriars children was The Dutch Courtesan, a satire on lust and hypocrisy, in 1604-5. In 1605, he worked with George Chapman and Ben Jonson on Eastward Ho, a satire of popular taste and the vain imaginings of wealth to be found in Virginia.
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During the 1980s, Valeria Lynch's success spread throughout Latin America. Her visceral singing style, coupled with her strong vocals and the choice of a repertoire that reached for popular taste made the difference with other interpreters of pop ballads. Her songs were not only a success in U.S. and Latin America but their music came to Spain, the Netherlands, Japan, Romania, Italy and the former Soviet Union. In 1980, while performing the musical "Estan tocando nuestra cancion" with Victor Laplace and Cipe Lincovsky in Buenos Aires, she released her third studio album Capricornio.
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Prior to that, the leading roles were predominantly sung by tenors and sopranos with even the baritone characters tending to sing in the upper part of their range. This was due not only to the popular taste of the times, but also to the fact that higher voices were more capable of riding over the orchestra and reaching the furthest seats. The introduction of amplification allowed male leading roles to be assigned to baritones, albeit ones who often had an extension into the tenor range.Salzman and Dési (2008) p.
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His projects in the city overlap his tenure on the Ohio Statehouse, beginning with the woman's school Bethel College, completed in 1855. He also erected a home for the Leavell family and a second all-female institution of higher learning, South Kentucky College (1858). He also built a second mental institution, which still stands and houses patients, the Western State Hospital. In his long career, Kelley combined a tenacious ability to champion his own personal artistic choices with a willingness to recognize changes in popular taste and fashion.
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The great dealers also possessed an expansive network of the monarchy and much of the nobility, and thus sold Carlin's furniture to figures such as, Marie Antoinette, the comte de Provence, the comte d'Artois, Louis XV's daughters, the mesdames de France, Madame du Barry, and the duchesse de Mazarin. For 12 years after becoming Master Ebéniste, he made porcelain-mounted furniture for Poirier and after 1778, he fed into the popular taste for exotic, 'oriental' designs and materials, and therefore started to produce sumptuous pieces in Japanese lacquer.
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Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.
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By the late 1970s, Wood was appearing less in public; commercial success faded away, and his musical experiments did not always match popular taste, but he remained productive in the studio as musician, producer and songwriter. He was a fan of Elvis Presley, but never succeeded in getting him to adopt one of his compositions. However, he was untiring as a producer for other acts, most successfully doo-wop revivalists Darts. In 1976, Wood recorded the Beatles songs "Lovely Rita" and "Polythene Pam" for the ill- fated musical documentary All This and World War II.
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Lazarsfeld was using the famous Stanton- Lazarsfeld Program-Analyzer, to record the responses of listeners, and in the ensuing interviews they conducted, Merton was instrumental in ensuring questions were properly answered. This was believed to be the start of the ‘focused group interview’, or what we now known as the focus group. It was also the beginning of a rich and influential collaboration in the field of communication studies. The paper for which Lazarsfeld and Merton is best known is their "Mass Communication, Popular Taste, and Organized Social Action" (1948).
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They point out the ensuing problems of social conformism, and consider the impact upon popular taste (a controversy which rages unabated until the present). The final section of the paper considers a topic of great salience in the post-World War II period, propaganda for social objectives. Here they propose three conditions for rendering such propaganda effective, terming these ‘monopolization’ (the ‘absence of counter propaganda’), ‘canalization’ (taking established behaviour and enlisting it in a particular direction), and ‘supplementation’ (the reinforcement of mass media messages by face-to-face contact in local organizations).
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By spring 1834, Schumann had sufficiently recovered to inaugurate Die Neue Zeitschrift für Musik ("New Journal for Music"), first published on 3 April 1834. In his writings, Schumann created a fictional music society based on people in his life, called the Davidsbündler, named after the biblical King David who fought against the Philistines. Schumann published most of his critical writings in the journal, and often lambasted the popular taste for flashy technical displays from figures whom Schumann perceived as inferior composers, or "philistines". Schumann campaigned to revive interest in major composers of the past, including Mozart, Beethoven, and Weber.
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The term _narcotizing dysfunction_ gained popularity from its use in the 1946 article "Mass Communication, Popular Taste, and Organized Social Action", by Paul F. Lazarsfeld and Robert K. Merton. Along with the status conferral function (i.e., mass media bestow prestige and enhance the authority of individuals and groups by legitimizing their status) and the reaffirmation of social norms function (i.e., mass media enforce social norms by exposing deviations from these norms to public view), they spotted a third social significance of mass media that had gone largely unnoticed: a narcotizing effect making the masses of the population politically inert.
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Rather than trying to adapt to popular taste, Friml decided to focus on playing the piano in concert and composing art music, which he did into his nineties. He also composed the music for the 1947 film Northwest Outpost, starring Nelson Eddy and Ilona Massey. A few of Friml's works have seen revivals on Broadway; these include a 1943 production of The Vagabond King and a 1984 production of The Three Musketeers. "The Donkey Serenade" from the film version of The Firefly, "The Mounties" and "Indian Love Call" are still frequently heard, often in romantic parody or comic situations.
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He was reinstated after the restoration. In 1851 he hit the popular taste with El Cid Campeador and El Libro de los Cantares. His popularity was fixed by the appearance of his first collection of lyrics, the Cantares (Madrid, 1852), and for the next eleven years he was absorbed by journalistic work, the best of his contributions being issued under the titles of Cuentos populares (1862), Cuentos de color de rosa (1864), and Cuentos campesinos (1865). Other collections of his tales, especially charming when they deal with his native region and its people, appeared in 1859, 1860, and 1866.
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While it is true that commercially it was unsuccessful, its massive change in profile, use of a modern (and heretofore unknown) space frame instead of a 'ladder chassis', and its reconfiguration of the auto's basic design and a massive redistribution of weight, all made it one of the most important car designs of the thirties. That it was ahead of its time, out of synch with popular taste, and did not sell does not diminish either its innovation or its artistic and technological merit and long term importance. Breer wrote in his published autobiography (Parts III - V) about the Airflow Car.
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Parallel to his literature career he became a theatre and film critic for the Latvian newspaper Laiks published in Brooklyn, NY, which also serialized a number of his novels. In 1957, his Neierasta Amerika began to be serialized in the Soviet Latvian magazine Zvaigzne, but it was immediately qualified as an 'import of bourgeois nationalism' and soon discontinued. The success of his works resides in their avangardist flavour combined with loyalty to the popular taste. In post-Soviet Latvia, his Shameless Old Men directed by Mihail Kublinskis, is one of the most successful productions of the National Theater.
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The changes of scene were announced by one of the actors. The poet wrote the comedy, paid by the director, to whom he yielded all the rights on the work, represented or printed, to modify the text. The works lasted three or four days in the billboard, or (with exceptions) fifteen days for a successful comedy. Juan de la Cueva, in the second half of the 16th century, introduced two elements of great importance for the boom of this artistic production: popular ethics, that gave origin to the comedies of national historical character, and the freedom to compose plays considering popular taste.
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Since all the Mamluk carpets that survive are from the late fifteenth century onwards, there is no way to confirm whether Sultan Qaitbay had utilized the expertise of the foreign weavers to revive a once established tradition of carpet manufacturing or to introduce an entirely new one.Pauli Gallin, Mamluk Art Objects in their Architectural Context (Boston, 2017), 101. After the 1517 Ottoman conquest of the Mamluk Sultanate in Egypt, the geometric compositions of Mamluk carpet designs were eventually abandoned and the curvilinear floral motifs were adopted in favor of the Ottoman court’s popular taste in ornamentation.
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For example Les Indes galantes, Dardanus and Platée (Bouissou, 2014, p. 341 The composer made a concession to popular taste by inserting the "Nightingale aria" ("Rossignols amoureux") before the final gavottes. It is an example of an ariette, the French term for a long bravura aria in the Italian style with the aim of showing off the singer's technical prowess. This particular specimen has no connection with the action of the drama, something Rameau would change with ariettes he wrote later such as "Que ce séjour est agréable" and "Aux langueurs d'Apollon Daphné se refusa" in Platée.
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In Das Buch vom Kitsch (The Book of Kitsch), Hans Reimann defines it as a professional expression "born in a painter's studio". The study of kitsch was done almost exclusively in German until the 1970s, with Walter Benjamin being an important scholar in the field. Kitsch is regarded as a modern phenomenon, coinciding with social changes in recent centuries such as the Industrial Revolution, urbanization, mass production, modern materials and media such as plastics, radio and television, the rise of the middle class and public educationall of which have factored into a perception of oversaturation of art produced for the popular taste.
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Jimson's father, based on a real person known to Cary, was an Academy artist who is heart-broken when Impressionism drives his style from popular taste. Jimson has put aside any consideration of acceptance by either academy or public and paints in fits of creative ecstasy. Although his work is known to collectors and has become valuable, Jimson himself is forced to live from one scam or petty theft to the next. Cadging enough money to buy paints and supplies, he spends much of the novel seeking surfaces, such as walls, to serve as ground for his paintings.
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Decorative motifs ranged according to the lamp's function and to popular taste. Ornate patterning of squares and circles were later added to the shoulder with a stylus, as well as palm trees, small fish, animals, and flower patterns. The discus was reserved for conventional scenes of gods, goddesses, mythological subjects, scenes from daily life, erotic scenes, and natural images. The strongly Christian identity of post- Roman society in Northwest Africa is exemplified in the later instances of Northwest African lamps, on which scenes of Christian images like saints, crosses, and biblical figures became commonly articulated topics.
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In 2000, Murakami published his "Superflat" theory in the catalogue for a group exhibition of the same name that he curated for the Museum of Contemporary Art, Los Angeles. The theory posits that there is a legacy of flat, 2-dimensional imagery from Japanese art history in manga and anime. This style differentiates itself from the western approach in its emphasis on surface and use of flat planes of color. Superflat also served as a commentary on postwar Japanese society in which, Murakami argues, differences in social class and popular taste have 'flattened,' producing a culture with little distinction between 'high' and 'low'.
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Contemporary festival of the Weddings of Isabel de Segura. Many scholars have debated the authenticity of the Lovers of Teruel. As James Michener argued in his 1968 book Iberia: > ...especially since the Italian Boccaccio in 1353 told practically the same > tale under the name ‘Girolamo e Salvestra’, except that he introduced > considerable salacious and amusing material. (p.811) Therefore: > ...it is likely that the more erotic version came second; specifically, it > is difficult to find instances in which popular taste borrowed an erotic > tale from a professional writer and retold it with the erotic elements > missing. (p.
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The Oxford Book of English Verse, 1250–1900 is an anthology of English poetry, edited by Arthur Quiller-Couch, that had a very substantial influence on popular taste and perception of poetry for at least a generation. It was published by Oxford University Press in 1900; in its india-paper form it was carried widely around the British Empire and in war as a 'knapsack book'. It sold close to 500,000 copies in its first edition. In 1939, the editor revised it, deleting several poems (especially from the late 19th century) that he regretted including and adding instead many poems published before 1901 as well as poems published up to 1918.
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Cornhill was founded by George Murray Smith in 1859, and the first issue displayed the cover date January 1860. The literary journal with a selection of articles on diverse subjects and serialisations of new novels continued until 1975. Smith had hoped to gain some of the readership enjoyed by All the Year Round, a similar magazine owned by Charles Dickens; toward this end he employed as editor William Thackeray, Dickens' great literary rival at the time. The magazine was initially successful, selling more issues than expected, but within a few years circulation dropped rapidly as it failed to keep pace with changes in popular taste.
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At this time the Daily Mail newspaper was very critical of the sexual content of Channel 5's late night schedule, referring to Channel 5 as Channel Filth and the Confessions series as "Films from the darkest days of British cinema". The film was a popular hit for the British sexploitation genre, while film critics reportedly loathed it and decried it as a "tawdry" and vulgar spectacle. Sian Barber points at this contradiction between the popular taste and the critics' notions of quality, and concludes that it offers significant insights on actual "audience preferences". Preferences shaped by "the tastes, values and frustrated desires of ordinary filmgoers".
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In response to a shift in popular taste away from ale, Carling added a three-storey lager plant to their main London, Ontario, brewery in 1877. Carling's Lager (later renamed Carling's Bavarian Stock Lager, and then Carling's Imperial Club Lager) was the company's first lager brand. Carling's Black & White Lager was introduced in the 1920s and later renamed Black Label Lager, in contrast to their recently launched Red Cap Ale. Due to its strength and price, the brand quickly became popular with the country's working class, perhaps most famously among the loggers and miners of Northern Ontario, where the brand gained a tough, blue-collar image.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Signature of Vialy (1751) The son of Jacques Vialy, a Sicilian painter born at Trapani but who moved to Provence, Louis-René Vialy was born at Aix-en-Provence. He began his career decorating sedan chairs, as attested by Mariette, who wrote that "it was a very popular taste in Provence to have ornamented sedan chairs".Pierre-Jean Mariette, Abecedario de P.-J. Mariette et autres notes inédites de cet auteur…, work published by Ph. de Chennevières et A. de Montaiglon, 6 vol., Paris, 1851-1860 His father was naturalised as a French subject by letters registered at the cour des comptes of Aix-en-Provence in 1720Reg Papyrus, fol. 216.
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However delightful this may sometimes be, Hazlitt observes, Moore carries all to excess, to satisfy popular taste: "It has been too much our author's object to pander to the artificial taste of the age. ... Now all must be raised to the same tantalising and preposterous level. ... The craving of the public mind after novelty and effect ... must be pampered with fine words at every step—we must be tickled with sound, startled with show, and relieved by the importunate, uninterrupted display of fancy and verbal tinsel as much as possible from the fatigue of thought or shock of feeling."Hazlitt 1930, vol. 11, p. 170.
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Kennington returned to the front in 1917 as an official war artist. The general failure of academic painting, in the form of the Royal Academy, to respond adequately to the challenges of representing the War was made clear by reaction to the 1916 Summer Exhibition. Although popular taste acclaimed Richard Jack's sentimental Return to the Front: Victoria Railway Station, 1916, the academicians and their followers were stuck in the imagery of past battle pictures of the Napoleonic and Crimean eras. Arrangements of soldiers, officers waving swords, and cavalrymen swaggering seemed outdated to those at home, and risible to those with experience of the front.
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During this decade, Valeria Lynch's career was more quiet, as she was established in popular taste and adapted to the changing music industry and the market that saw the birth of vinyl gave way to CD and video as primary distribution mode. She remained successful due to her avant-garde sound in the last decade, without continental touring as before. Lynch also returned to musical comedy and was successful with the intelligentsia in Argentina that once did not understand so much success in a clearly popular figure. In 1990 she participated in the Festival of San Remo, Italy, where the critics compared her playing style to that of Mina Mazzini.
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Claudius was born at Reinfeld, near Lübeck, and studied at Jena. He spent the greater part of his life in the town of Wandsbeck, where he earned his first literary reputation by editing from 1771 to 1775, a newspaper called Der Wandsbecker Bote (The Wandsbeck Messenger) (Wandsbeck until the year 1879 still written with "ck". Today only with "k".), in which he published a large number of prose essays and poems. They were written in pure and simple German, and appealed to the popular taste; in many there was a vein of extravagant humour or even burlesque, while others were full of quiet meditation and solemn sentiment.
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In this he gave an account of the newer deciduous and evergreen plants and told in considerable detail of the development of his own "Wodenethe" and of the estate of his relative, Horatio Hollis Hunnewell, in Wellesley, Massachusetts. A second supplement, added in the edition of 1875, gives a brief account of trees and shrubs introduced since 1859. In a period which marks the beginning of the professional practice of landscape architecture in the United States, this book and its supplement exerted a great influence on popular taste. Sargent's influence may also be seen more directly in the horticultural interests of his kinsmen, Hunnewell and Charles Sprague Sargent.
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He shows scorn about the rigid interpretation that the theorists of the Renaissance—mostly Italian—had done of the Aristotelian ideas on the theatre, and he proposes as values, naturalness as opposed to artifice, variety as opposed to unity, and considering popular taste. Among his prolific dramatic production, some works can be singled out: Peribáñez and the Commander of Ocaña (1604–12) is a tragicomedy set in 1406 in Toledo: Peribáñez understands that the Commander of Ocaña has overwhelmed him with honors to harass his woman. After killing him he wins the royal pardon. Around 1614 Lope composed one of his better tragicomedies: Fuenteovejuna.
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There are scholars who point out that mass market films such as those produced in Hollywood appeal to a less discerning audience. This group then turns to film critics as a cultural elite that can help steer them towards films that are more thoughtful and of a higher quality. To bridge the disconnect between popular taste and high culture, these film critics are expected to explain unfamiliar concepts and make them appealing to cultivate a more discerning movie-going public. For example, a film critic can help the audience—through his reviews—think seriously about films by providing the terms of analysis of these art films.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste.
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Vile gossip and scandal spew from the press in the 1888 Puck cartoon Raymond's contribution to journalism, then, was not the introduction of revolutionizing innovations in any department of the profession but a general improving and refining of its tone, a balancing of its parts, sensitizing it to discreet and cultivated popular taste. Taking The Times of London as his model, he tried to combine in his paper the English standard of trustworthiness, stability, inclusiveness, and exclusiveness, with the energy and news initiative of the best American journalism; to preserve in it an integrity of motive and a decorum of conduct such as he possessed as a gentleman.
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Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair. The Maryborough monument includes four statues and a winged figure of victory.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste.
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Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Born in Kranichfeld in Saxe-Weimar-Eisenach, the son of a local medical practitioner, he received his early schooling at the gymnasium of Meiningen, to which place his father had moved. After studying natural science at Leipzig as a member of the German Student Corps Thuringia and in various other universities, he engaged in private tuition, both independently and in families, in the Austrian towns of Graz, Brünn and Trieste. In Trieste he caught the popular taste with an Alpine legend, Zlatorog (1877), and songs of a journeyman apprentice, Lieder eines fahrenden Gesellen (1878), both of which ran into many editions. Their success decided him to embark upon a literary career.
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The kindness of my friends in restoring me some of my MSS. has enabled me to do this, and I now send these songs forth into the world, satisfied if they should be the means, in however humble a degree, of adding to the material of musical enjoyment, or of contributing anything to the regeneration of the popular taste in an important department of chamber music.' It was also during the 1840s that he wrote "Simon the Cellarer", another abiding favourite (which he sold to Oliphant for 'a £10 note'). This was incorporated into the ballad opera Diamond cut diamond by Henri Drayton in 1859.
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Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they made the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste.
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Widely anthologized, the paper has been proposed as a canonical text in media studies.Simonson and Weimann, Critical Research at Columbia. Lazarsfeld and Merton set out to understand the burgeoning public interest in problems of the ‘media of mass communication’.Lazarsfeld and Merton (1948) "Mass Communication, Popular Taste, and Organized Social Action" After a critical consideration of common and problematic approaches to the mass media — noting that the "sheer presence of these media may not affect our society so profoundly as is widely supposed" — they work their work through three aspects of what they see as the problem. They highlight three ‘social functions’ that cast a long shadow into the present day.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair. Although there are many different types of memorials in Queensland, the digger statue is the most common.
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Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste.
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Australians were proud that their first great national army, unlike other belligerent armies, was composed entirely of volunteers, men worthy of honour whether or not they paid the supreme sacrifice. Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste.
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While row materials are freely used, the method of composing with twelve tones is nowhere strictly applied, not even in as recent and completely atonal a piece as the Structure for solo harp. Similarly, oriental materials are employed sparingly and with the greatest caution. Whereas the Symphony is actually based on a Persian-Jewish lament as notated by A. Z. Idelsohn, the Quartet no longer goes beyond the use of a few characteristic motifs. And if the Symphony still features a dance section in accordance with the then prevailing tenets of the Mediterranean School, such sacrifices to popular taste, however subtle, have been conspicuously missing in recent years.
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Vintage locations featuring the red roof, designed by architect Richard D. Burke, can be found in the United States and Canada; several exist in the UK, Australia, and Mexico. In his book Orange Roofs, Golden Arches, Phillip Langdon wrote that the Pizza Hut red roof architecture "is something of a strange object – considered outside the realm of significant architecture, yet swiftly reflecting shifts in popular taste and unquestionably making an impact on daily life. These buildings rarely show up in architectural journals, yet they have become some of the most numerous and conspicuous in the United States today."Orange Roofs, Golden Arches: The Architecture of American Chain Restaurants By Phillip Langdon.
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Rinuccio sings the name "Gianni Schicchi" to a jaunty four-note phrase which becomes Schicchi's personal motif, and it is heard again as Schicchi knocks on the door before his first appearance. The best-known theme in the opera, that associated with Lauretta, is introduced in the second part of Rinuccio's aria "Avete torto". The theme is briefly played on clarinet and violin as Lauretta enters with Schicchi, before its full expression in O mio babbino caro. Budden dismisses the view that Lauretta's aria, at the midpoint of the opera, was a concession to popular taste; rather, "its position at the turning point of the action is precisely calculated to provide a welcome moment of lyrical repose".
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Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.
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Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.
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According to Handel's biographer Donald Burrows, Keiser was a good judge of popular taste, with a flair for writing Italian-style arias. Between 1697 and 1703, prior to Handel's arrival, about a dozen more Keiser operas had been staged at the Gänsemarkt. Despite his on-stage successes, Keiser was an unreliable general manager, with expensive private tastes and little financial acumen, often at odds with his creditors. It is possible that Keiser, who had connections in the Halle area, had heard of Handel and was directly instrumental in securing the latter's post in the Gänsemarkt orchestra; certainly he was a considerable influence on the younger man in the three years that Handel spent in Hamburg.
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The wide variety of elaborate monuments was also a feature of late Victorian cemeteries and reflected popular taste at the time. From the interwar period the trend was towards simpler more economical monuments and away from curbing and fenced plots. This trend culminated in the development of low maintenance lawn cemeteries after World War II with plaques set close to, or flush with the ground. An exception to this trend was the reappearance, towards the end of the 20th century, of more elaborate monuments associated with some ethnic populations. The variety of monuments and inscriptions reflects the changing demography of the Mackay region from its earliest days until the closure of the cemetery in the 1990s.
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Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk was favoured in the southern states, where overall responsibility for the approval of war memorials fell under the jurisdiction of a Board made up of artists and architects.
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Divox CD set CDX-21103-04 Although Leibowitz was receptive to a wide range of musical styles, he could not bear the music of Sibelius, and published a pamphlet about him under the title of Sibelius: the Worst Composer in the World;Leibowitz, title page he also severely criticised Bartók for writing music that was too accessible: Leibowitz felt that by failing to adopt dodecaphony in his later works Bartók was pandering to popular taste rather than helping to move music away from tonality in accordance with Leibowitz's notions of historical inevitability and composers' duty.Fosler-Lussier, pp. 201–204 For Leibowitz, to write a popular work like Bartók's Concerto for Orchestra was a betrayal of modernism.
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Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the soldier statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Many memorials honour all who served from a locality, not just the dead, providing valuable evidence of community involvement in the war. Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects.
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Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair. There were many different types of memorials erected in Queensland; however this is the only known one of this design.
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Such evidence is not readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time, not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. In Queensland, the digger (soldier) statue was the popular choice of memorial, whereas the obelisk predominated in the southern states, possibly a reflection of Queensland's larger working-class population and a lesser involvement of architects. Many of the First World War monuments have been updated to record local involvement in later conflicts, and some have fallen victim to unsympathetic re-location and repair.
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The sheet music was a million-seller, and the march was recorded many times. At the start of World War II, "Colonel Bogey" became part of the British way of life when a popular song was set to the tune: "Hitler Has Only Got One Ball" (originally "Göring Has Only Got One Ball" after the Luftwaffe leader suffered a grievous groin injury, but later reworded to suit the popular taste), with the tune becoming an unofficial national anthem to rudeness."Minor British Institutions: Colonel Bogey". The Independent. Retrieved 4 December 2012 "Colonel Bogey" was used as a march-past by the 10th and 50th Battalions of the Canadian Expeditionary Force,Pegler, Martin, Soldiers' Songs and Slang of the Great War, Osprey Publishing, 2014, , page 242.
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Manne made contributions here too. Best known is the series of albums he recorded with pianist André Previn and with members of his groups, based on music from popular Broadway shows, movies, and television programs. (The first and most successful of these was the My Fair Lady album based on songs from the musical, recorded by Previn, Manne, and bassist Leroy Vinnegar in 1956.) The recordings for the Contemporary label, with each album devoted to a single musical, are in a light, immediately appealing style aimed at popular taste. This did not always go over well with aficionados of "serious" jazz, which may be one reason why Manne has been frequently overlooked in accounts of major jazz drummers of the 20th century.
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In 1800, unable to remain in Rome on account of his health, he went to Naples, where he painted The Shepherds in the Tomb of Amyntas . In 1802 Guérin produced Phaedra and Hippolytus (Louvre); in 1810, after his return to Paris, he again achieved a great success with Andromache and Pyrrhus (Louvre); and in the same year also exhibited Aurora and Cephalus (Louvre) and Bonaparte and the Rebels of Cairo (Versailles). These paintings suited the popular taste of the First Empire, being highly melodramatic and pompously dignified. The Restoration brought to Guérin fresh honours; he had received from the first consul in 1803 the cross of the Legion of Honour, and in 1815 Louis XVIII named to the Académie des Beaux-Arts.
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Other annual events include the Sanlúcar Tapas Fair, a local gastronomy competition; the Feria de la Manzanilla in late May, which is held at the beginning of the Noches de Bajo de Guía flamenco season; classical and jazz festivals; and the occasional concert by a major act. The city is also known for the Rocio pilgrimage, one of the more popular expressions of the Roman Catholic faith; it can be compared to the pilgrimages to Santiago or Lourdes. Sanlúcar has had since ancient times a popular taste for bullfighting and has given the world of bullfighting several well-known bullfighters including Manuel Hermosilla y Llanera, José Martínez Ahumada ("Limeño"), Francisco Ojeda González ("Paco" Ojeda), Julio Vega Rodríguez ("Marismeño"), José Luis Parada, and Manuel Rodríguez Blanco ("El Manguin").
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He refuses to work in any way that compromises his integrity and in which he would succumb to "popular taste". In a similar vein, Rand wrote a new scene for the film in which Roark is rejected as architect for the Civic Opera Company of New York, an allusion to Edgar Kaufmann, Jr., Frank Lloyd Wright, and the Civic Light Opera Company of Pittsburgh. While communism is not explicitly named, the film is interpreted as a criticism of the communist ideology and the lack of individual identity in a collective life under a communist society. However, the novel's criticisms were aimed at Franklin D. Roosevelt's New Deal, which is reflected in Rand's endorsement of modernism in architecture in both the book and the film.
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The New York Times greeted the appearance of the new magazine with the comment that "this is a promising periodical, containing much that will commend itself to the decent popular taste", and added that "Mr Herbert Greenhough Smith, who has been the editor of The Strand Magazine, occupies the same post on the new periodical". Although Herbert Greenhough Smith was associated with the launch of the magazine, the first editor, until 1910, was Alderson Anderson. In its first decade, The Grand carried fiction by such authors as P. G. Wodehouse, Edgar Wallace, Rafael Sabatini, Talbot Mundy, H. C. Bailey, E. W. Hornung, Marie Belloc Lowndes, Ruby M. Ayres, F. St. Mars, and Crosbie Garstin. The magazine also serialised H. G. Wells' The Passionate Friends: A Novel.
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Furthermore, between the 1880s and the end of World War 1, the Egyptian cigarette industry was a globally successful manufacturer and exporter of cigarettes. Non-Egyptian tobacco companies adopted Egyptian motifs in their advertising to take advantage of this, although the Egyptian industry had begun to decline by the late 1920s as popular taste shifted away from the Turkish tobacco it used. The building was opened to great fanfare; a ceremony held in front of the building involved covering the pavements in front of the building with sand to replicate the deserts of Egypt. There was a procession of cast members from a contemporary London production of Verdi's opera Aida, actors in Ancient Egyptian costume performed around the "temple" structure, and a chariot race was held on the Hampstead Road.
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Jarrod explains his intention of building a new wax museum with his assistants, the deaf-mute Igor and Leon Averill, conceding to popular taste by including a chamber of horrors showcasing both historical crimes (beheading of Anne Boleyn, Charlotte Corday, Anne Askew, and Jean-Paul Marat) and recent events that include William Kemmler's execution and Burke's apparent suicide. Sue attends the opening of the wax museum and is troubled by the strong resemblance of the figure of Joan of Arc to Cathy. Jarrod claims that he used photographs of Cathy to make the sculpture. But Sue remains unconvinced while Jarrod hires Scott as an assistant, with Jarrod developing an interest in Sue over her resemblance to his Marie Antoinette sculpture, the police agreeing to investigate the museum while recognizing Averill from his criminal background.
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War memorials provide valuable evidence of a community's involvement in the war; not so readily obtainable from military records, or from state or national listings, where names are categorised alphabetically or by military unit. Australian war memorials are also valuable evidence of imperial and national loyalties, at the time not seen as conflicting; the skills of local stonemasons, metalworkers and architects; and of popular taste. Before the construction of the Mackay cenotaph in 1929, Anzac Day in the city was commemorated by a procession of returned servicemen and the gathering of crowds around a Cross of Sacrifice, a temporary structure usually placed in a central location. Wreaths and floral tributes were laid around the cross and a simple ceremony performed, with music provided by local bands and speeches given by local dignitaries.
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This might explain the length of Institutio Oratoria, which consists of twelve books. From the middle of the first century BC to Quintilian's time, there had been a flowering of Roman rhetoric. But by Quintilian's time, the current of popular taste in oratory was rife with what has been called "silver Latin," a style that favored ornate embellishment over clarity and precision. Quintilian's Institutio Oratoria can in many ways be read as a reaction against this trend; it advocates a return to simpler and clearer language. It may also reflect the influence of the late Emperor Vespasian, who was “[a] man of plebeian stock, ... a down-to-earth realist with the common touch” (Murray, 431); Vespasian disliked excess and extravagance, and his patronage of Quintilian may have influenced the latter's views of language.
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Paley's recognition of how to harness the potential reach of broadcasting was the key to his growing CBS from a tiny chain of stations into what was eventually one of the world's dominant communication empires. During his prime, Paley was described as having an uncanny sense for popular taste and exploiting that insight to build the CBS network. As war clouds darkened over Europe in the late 1930s, Paley recognized Americans' desire for news coverage of the coming war and built the CBS news division into a dominant force just as he had previously built the network's entertainment division. During World War II, Paley served as director of radio operations of the Psychological Warfare branch in the Office of War Information at Allied Force Headquarters in London, where he held the rank of colonel.
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In 1833 he married his first wife, Catherine Baker, and in February 1837, after varied experiences, he began publishing The Confessions of Harry Lorrequer in the recently established Dublin University Magazine. During the previous seven years the popular taste had turned toward the "service novel", examples of which are Frank Mildmay (1829) by Frederick Marryat, Tom Cringle's Log (1829) by Michael Scott, The Subaltern (1825) by George Robert Gleig, Cyril Thornton (1827) by Thomas Hamilton, Stories of Waterloo (1833) by William Hamilton Maxwell, Ben Brace (1840) by Frederick Chamier and The Bivouac (1837), also by Maxwell. Lever had met William Hamilton Maxwell, the titular founder of the genre. Before Harry Lorrequer appeared in volume form (1839), Lever had settled on the strength of a slight diplomatic connection as a fashionable physician in Brussels (Hertogstraat 16).
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It is generally accepted that miscellanies offer insight into the popular taste of the moment, of what people read and how they read it; yet they also provide information about the aesthetic, social and economic concerns underlying the production and consumption of literature. Miscellanies were assembled, marketed and sold with a contemporary reading audience in mind, and reveal a dynamic between the taste which they played a part in shaping, and the preoccupations of the editors who complied and the publishers who sold them. Indeed, the range of price and format reveals the extent to which poetry was packaged and sold for different readerships. As Jennifer Batt argues: Miscellanies frequently placed emphasis on variety, novelty and fashionability, providing their readers with a range of different pieces by various writers, but also keeping them abreast of the newest developments in the literary market.
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It is melodramatic, and ends with the bard hurling himself to his death from the top of a mountain. When his duties allowed, Gray travelled widely throughout Britain to places such as Yorkshire, Derbyshire, Scotland and most notably the Lake District (see his Journal of a Visit to the Lake District in 1769) in search of picturesque landscapes and ancient monuments. These elements were not generally valued in the early 18th century, when the popular taste ran to classical styles in architecture and literature, and most people liked their scenery tame and well-tended. The Gothic details that appear in his Elegy and The Bard are a part of the first foreshadowing of the Romantic movement that dominated the early 19th century, when William Wordsworth and the other Lake poets taught people to value the picturesque, the sublime, and the Gothic.
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For his paintings, he did preliminary research and worked from photographs that he took himself in Mexican villages: he portrayed ideal models of men and women with a romantic beauty very much in the popular taste. The introduction to Museo Soumaya's Mexican Calendars catalogue defines the colorful aesthetics of Mexican calendar art as a "singular combination of creativity and commercial efficacy". And furthermore states that: "Both affective and effective, the final product was multiplied in works that have persisted in the collective imagination of several generations of Mexicans, helping to define their notions of national identity, beauty, folklore, cinema, leisure, religion, esthetic taste, fashion, tourist resorts, and childhood." The Galas de México calendars that were a mainstay in countless Mexican homes for decades positioned Cataño as one of the greatest artists in the genre of pin-up girls for calendars.
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After the Second World War, shops such as Woolworths sold large numbers of colorful and sentimental or 'exotic' prints. As a commercially reproduced picture, Wings of Love was sold ready-framed in many high street outlets, and became a best-selling image in the early 1970s. By 1992, 2.5 million copies of Wings of Love had been sold, many outside of the UK. The most notable appearance of Wings of Love was in a mural commissioned for a wall beside one of Saddam Hussein's many swimming pools in his palace. The mural was recreated in the form of a projection on the wall of the Platform Arts Gallery, Belfast, in February 2009. In the exhibition ‘Taste: The New Religion’, at Manchester's Cornerhouse Arts Centre, Wings of Love finds a place beside pictures by Vladimir Tretchikoff, John Lynch and Peter Lightfoot as an example of the independent course of popular taste.
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Amongst folk singers the likes of Inayat Hussain Bhatti, Tufail Niazi, Alam Lohar, Sain Marna, Mansoor Malangi, Allah Ditta Lonawala, Talib Hussain Dard, Attaullah Khan Essa Khailwi, Gamoo Tahliwala, Mamzoo Gha-lla, Akbar Jat, Arif Lohar, Ahmad Nawaz Cheena and Hamid Ali Bela are well-known. In the composition of classical ragas, there are such masters as Malika-i-Mauseequi (Queen of Music) Roshan Ara Begum, Ustad Amanat Ali Khan, Salamat Ali Khan and Ustad Fateh Ali Khan. Alam Lohar has made significant contributions to folklore and Punjabi literature, by being a very influential Punjabi folk singer from 1930 until 1979. For the popular taste however, light music, particularly Ghazals and folk songs, which have an appeal of their own, the names of Mehdi Hassan, Ghulam Ali, Nur Jehan, Malika Pukhraj, Farida Khanum, Roshen Ara Begum, and Nusrat Fateh Ali Khan are well-known.
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"If you look at drama in Shakespeare's day, or the novel in the last century, or the movie today, it suggests that an art enters its golden age when it is addressed to and energized by the general audiences of its time." Dana Goodyear, in an article in The New Yorker reporting and commenting on Poetry magazine and The Poetry Foundation, wrote that Barr's essay was directly counter to the ideas of the magazine's founder, Harriet Monroe, eight decades before. In a 1922 editorial, Monroe wrote about newspaper verse: "These syndicated rhymers, like the movie-producers, are learning that it pays to be good, [that one] gets by giving the people the emotions of virtue, simplicity and goodness, with this program paying at the box-office." Monroe wanted to protect poets from the demands of popular taste, Goodyear wrote, while Barr wants to induce poets to appeal to the public.
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Umm Kulthum with some of the most prominent names in Egyptian classical music. From left: Riad Al Sunbati, Mohamed El Qasabgi, Farid al-Atrash, Zakariya Ahmad. Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The lover's heart softens"), one of her most popular, intricate, and high-caliber songs. The reason for the separation is not clear.
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He especially admired Li Mengyang (李夢陽) and was also on good terms with some retroactive scholars like Wang Jiusi (王九思). During his diplomatic mission, he versified together with some civil officials of Joseon Dynasty such as Li Xing (李荇), and introduced the opinions of the"Former Seven Scholars" such as Li Mengyang from the official level. The “Xin-Si-Huang-Hua- Ji”(《辛巳皇華集》) versification and the direct result—the spread of Li Mengyang’s poetry eastwards, had a far-reaching effect on the literary innovation in the mid and late period of the Joseon Dynasty. In addition, several of his travel poems carried a style of Xie Lingyun (謝靈運)’s scenic poems. Among them, some particular ones also contained the style of Tang Yin (唐寅)’s Wu School. His poetic creation drew widely from others’ strong points and appealed to both refined and popular taste.
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"Manifesto" by Wojciech Weiss, 1950 Socialist realism in Polish art was confined to portraits of party leaders and various depictions of muscular labourers and battle scenes, with special attention paid to popular taste. Formally inspired by Neoclassicism as well as the local folk art, socrealism served strictly political and pro-Soviet propaganda purposes; however, its most notable artists, such as Wojciech Weiss and Włodzimierz Zakrzewski were educated before Stalinism and inadvertently adhered to traditional Western techniques and technologies. Some of the most blatantly socrealist paintings were: "Pass-on the brick" (Podaj cegłę) pictured here, by Aleksander Kobzdej, and "Thank you tractor operator" (Podziękowanie traktorzyście) pictured here, as well as "Comrade Bierut among labourers" (Towarzysz Bierut wśród robotników) by Helena and Juliusz Krajewski. allegories surrounding the Palace of Culture and Science in Warsaw In sculpture, there was a trend toward stone-carved allegories elevating the common worker, used mainly for architectural purposes, such as those surrounding the Palace of Culture and Science in Warsaw, including mostly plaster busts of communist apparatchiks.
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The principle importance of the company, however, lies in its role in the genesis of the Kemble family, who were generally thought to have received their beauty and talent from the Wards and whose emergence saw actors with provincial origins for the first time leading rather than following the London stage.; ; Annotations from Ward's surviving prompt books show that he was familiar with early texts of Shakespeare's works and was restoring Shakespeare's original text at an earlier date and more comprehensively even than David Garrick, and also suggest that changes to the staging of Hamlet introduced to London as innovations by John Phillip Kemble had been practiced by Ward's company as early as 1740. While tradition has it that Sarah Siddons "learnt her trade" between her initial unsuccessful appearance at Drury Lane in 1775 and her triumphant return in 1782, it is equally possible that it was popular taste in London that had caught up in the meantime with her style, which was more suited to the emerging romanticism than the existing fashionable neoclassicism.
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The place is important in demonstrating the course, or pattern, of cultural or natural history in New South Wales. It is important in the course or pattern of NSW's cultural history because, like the very few remaining picture theatres of its era it is of historic, social and cultural significance due to "its association with past events, persons and groups who contributed or participated in an important social and cultural phenomenon of the 20th century, namely "movie going". The importance of such historical phase or phenomenon may be gauged. . .by its physical manifestations, including the number of theatre buildings then existing [from 1910 to 1960], the amount of employment created, the fact that "picture going" was second only to sport as a leisure time activity, ands by its impact on popular taste of the time where concerned with fashion, design generally, language, music and behaviour".Simpson, 1986:109 The place has a strong or special association with a person, or group of persons, of importance of cultural or natural history of New South Wales's history.
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Other factors that influenced the development of tourism on the Sunshine Coast were the popular taste for beach holidays and population growth in South-East Queensland. This in turn influenced the number of caravan users and development of caravan parks. Development of the Noosa area was boosted by the opening of the coastal road (David Low Way) in 1960 linking the main resorts at Caloundra, Maroochydore and Noosa. Intrinsically linked to the rise of motor transport and improved roads were caravan parks. From the late 1930s, private developers were the first to offer caravan parks with modern facilities and structured layout. By 1960, a mix of public and private parks had been established on what was becoming known as the Sunshine Coast. The site of Noosa River Caravan Park (about ) was reserved as a Reserve for Caravan and Camping Purposes in 1956 by its excision from the Reserve for Public Purposes at Munna Point. This early reservation of the Noosa River Caravan Park as a caravan and camping reserve places it at the vanguard of the caravanning period. Queensland caravan registration figures increased substantially from 2320 in 1953 to 5406 in 1961.
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The main innovation that ancient critics ascribed to Pratinas was the separation of the satyric from the tragic drama.Suda, πρῶτος ἔγραψε ΣατύρουςHelenius Acron, Commentaries on Horace 230, reading Pratinae for Cratini Pratinas is frequently credited as having introduced satyr plays as a species of entertainment distinct from tragedy, in which the rustic merry-makings and the extravagant dances of the satyrs were retained. The change preserved a highly characteristic feature of the older form of tragedy, the entire rejection of which would have met with serious obstacles, not only from the popular taste, but from religious associations, and yet preserved it in such a manner as, while developing its own capabilities, to set free the tragic drama from certain of its genre constraints. A band of Satyrs, as the companions of Dionysus, formed the original chorus of tragedy; and their jests and frolics were interspersed with the more serious action of the drama, without causing any more sense of incongruity than is felt in the reading of those humorous passages of Homer, from which Aristotle traces the origin of the satyric drama and of comedy.
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The musical forms then in common use — the frottola and the ballata, the canzonetta and the mascherata — were light compositions with verses of low literary quality. Those musical forms used repetition and soprano-dominated homophony, chordal textures and styles, which were simpler than the composition styles of the Franco-Flemish school. Moreover, the Italian popular taste in literature was changing from frivolous verse to the type of serious verse used by Bembo and his school, who required more compositional flexibility than that of the frottola, and related musical forms. The madrigal slowly replaced the frottola in the transitional decade of the 1520s. The early madrigals were published in Musica di messer Bernardo Pisano sopra le canzone del Petrarcha (1520), by Bernardo Pisano (1490–1548), while no one composition is named madrigal, some of the settings are Petrarchan in versification and word-painting, which became compositional characteristics of the later madrigal. The Madrigali de diversi musici: libro primo de la Serena (1530), by Philippe Verdelot (1480–1540), included music by Sebastiano Festa (1490–1524) and Costanzo Festa (1485–1545), Maistre Jhan (1485–1538) and Verdelot, himself.
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Despite adulatory tributes attached to his works, Shakespeare was not considered the world's greatest writer in the century and a half following his death.. His reputation was that of a good playwright and poet among many others of his era.. Beaumont and Fletcher's plays dominated popular taste after the theatres reopened in the Restoration Era in 1660, with Ben Jonson's and Shakespeare's plays vying for second place. After the actor David Garrick mounted the Shakespeare Stratford Jubilee in 1769, Shakespeare led the field.. Excluding a handful of minor 18th-century satirical and allegorical references, quoted in ; . there was no suggestion in this period that anyone else might have written the works. The authorship question emerged only after Shakespeare had come to be regarded as the English national poet and a unique genius.. By the beginning of the 19th century, adulation was in full swing, with Shakespeare singled out as a transcendent genius, a phenomenon for which George Bernard Shaw coined the term "bardolatry" in 1901.. By the middle of the century his genius was noted as much for its intellectual as for its imaginative strength.. Since what was known about his life seemed to reveal Shakespeare as an untutored rustic,.
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