Word: cages
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Dates: during 1970-1979
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Over the river (and through thewoods), the indoor track team will be running for its life against Northeaster. The meet, which begins at 12 noon in Briggs Cage, is going to be one of the toughest challenges for the tracksters this season...
...friends) so guileless and cunning that he shouldn't even be allowed to make neurological decongestant ads or even be on welfare, one-two-threed his way into a state of protoplasmic regret when Bruno finished dicing him through the Great Steel Cage. He actually ripped Hanson's face off--yanked the pulpy flesh right off his doggone skull. Ex-transvestite. Hansen, whose eyes had long since disappeared to leave only streams of orange blood, mistook a kindly referree for his phantom foe. But he didn't even have the strength left to beat 165-er ref Bob Morgan...
...Warriors answered that tally when Crimson goalie Barry Wald deflected a shot back over the cage but the puck rebounded off the board to Kevin Lawler near the right post. He flicked it past the lunging netminder to make the score a short-lived...
...there was a more general sense of ferment at Black Mountain, because the composer John Cage and his friend Merce Cunningham, the dancer-choreographer, were among the innovators living there. If it can be said that advanced art in America through the '50s and early '60s had one single native guru, that man was Cage: at once the most avant-garde and the most transparent of composers, the Marcel Duchamp of music, the man who erected combinations of silence and random sound into an aesthetic strategy in order to give art the inclusive density of life. It was Cage...
...painter could not compete with the saintly and difficult presences of Cage and Cunningham, but one could collaborate, and Rauschenberg did. Through the '50s and early '60s he designed sets and costumes for Cunningham's dance troupe. To a remarkable degree, Rauschenberg eventually made himself the conduit through which some of the big money made in the '60s by new art, including his own, was siphoned to the "profitless" avantgarde, that of dance and music. In doing so, he felt he was only paying his dues, for when Rauschenberg moved to New York in the fall of 1949 he joined...