Word: basses
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This fall, you followed Jeff and Larry Grafstein as they traveled with the football team to West Point, Philadelphia and the brink of an Ivy Championship. You and Mike Bass watched the women's soccer team soar to a third-place finish in the nation, and you charted the rejuvenation of the men's soccer team with Mark Doctoroff, along with reading his voluminous coverage of House Football...
...landmark album. A good place to start is with their version of the old Smokey Robinson hit, "Tears of a Clown." Just after the grand introductory riff, the Beat pitches a rhythm that is speedy, tense, seemingly out of whack. Is this Motown or is it ska? Is the bass guitar chasing the sax or is it the other way around? With truckloads of scratchy guitar work, snaky bass runs and exotic sax passages, the Beat create a sound that is soulful, dangerous, irresistible and distinctly urban. One can practically hear the buzz of the neon. The vocals clinch their...
Each team produces representative national dishes. The runners-up this year were Australia (smoked lamb in eucalyptus leaves, sautéed shrimp on fish patties in hollandaise sauce) and South Korea (rolled beef, stuffed duck with apple rings and chestnuts). The Americans produced sea bass stuffed with crabmeat and fried in batter; also, turkey breast stuffed with Virginia ham, liver and giblets, then baked and served rollatine. Both dishes took months to perfect but cost less than $3 a serving to prepare, not including labor costs. Explained Richard Schneider, a New Jersey restaurateur: "We have to be bottom-line conscious...
...Dinah Shore came on with Blues in the Night; Mary Martin with My Heart Belongs to Daddy. Ethel Merman belted There's No Business Like Show Business. Leontyne Price sang a moving What I Did for Love from A Chorus Line; Renata Scotto decided to Over the Rainbow. Bass-Baritone Donald Gramm brought down the house with a Sillified version of I Want What I Want When I Want...
...three, Silverman's Madame Adare. Using a libretto by Richard Foreman, his longtime collaborator, the composer has written a fantasy, or more precisely a phantasmagoria, about psychoanalysis and creativity. As the piece begins, Miss Adare, played by Soprano Carol Gutknecht, is seeing her psychiatrist Dr. Hoffman (Bass-Baritone Richard Cross). Her problem: she cannot make up her mind whether she wants to be an opera star or a movie star, and while she dallies, she cannot even make enough money to pay for her sessions. When Hoffman refuses to treat her again until she pays up, she tries...