Word: bela
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...there the similarities stop. Whereas competition is an acquired taste for Miller, Zmeskal thrives on the audience adulation and pressure. "Since she was little, she was always liking to be watched and admired," says Zmeskal's Romanian-born coach, Bela Karolyi. "She was always a little showgirl." Zmeskal's boosters are confident that, win or lose, she will perform at her best in Barcelona...
...husband-and-wife coaching team of Bela and Martha Karolyi have produced several Olympic champions, among them Nadia Comaneci (1976) and Mary Lou Retton (1984). Zmeskal was among the first 200 students to sign on when the Karolyis opened their Houston gym in 1982, and they fully expect her to bring home the all-around gold. Bela says that of the more than 4,000 girls he has coached in Romania and the U.S., not one of them can touch the competitive drive of the one whom he early on dubbed the Little Pumpkin, and now calls Kimbo...
Deficient? The word does no justice to Wood's work -- to Bela Lugosi's mad monologues in Glen or Glenda ("Bevare of the big green dragon that sits on your doorstep!" he intones between stock shots of atom-bomb blasts and buffalo herds. "He eats little boys! Puppy-dog tails! Big fat snails!"); to Bride of the Monster's rubber octopus with a broken tentacle, which Wood stole from Republic Studios; to Lugosi's double in Plan 9, who is a head taller than the star (who died during the filming) and must cover his face with a cape...
...sounded so great because I lacked tone and I didn't have a great sense of rhythm. They were right." In 1981 Fleck moved to Nashville and joined the group that would be his musical home for the next eight years: the New Grass Revival, which played what Bela calls "high-tech bluegrass with a lot of heart and intensity; the singing was like R.-and-B. soul, like Motown...
Television provided Fleck with the chance to escape what he eventually felt were the Revival's constraints. Two years ago, producers of the Lonesome Pine Specials asked him to do a solo show. Bela Fleck and Guests began with the tux-clad banjoist joining the Blair String Quartet in a four-movement classical work by Fleck and composer Edgar Meyer. It ended with a jazz section riffed by Bela and the trio that became the Flecktones: Howard Levy on keyboards and harmonica, the brothers Victor and Roy ("Future Man") Wooten on bass guitar and Drumitar (a guitar wired to electric...