Word: gig
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Dates: during 1980-1989
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...Lima, Ohio, at a facility for mentally ill inmates, part of the courtyard resembles a barnyard. Sheep, goats, ducks, rabbits -- even deer -- roam around. "We're finding the prisoners who have pets are less violent," says Psychiatric Social Worker David Lee. In a double bonus, women inmates in Gig Harbor, Wash., are training special dogs to aid the handicapped. For one family with a daughter who suffers from a neurological disorder, a dog was schooled to pick up signals of an impending seizure and alert the girl and her parents. "The dog knows before the girl does that...
Glee Club officers said the television exposure makesthis gig particularly attractive. "It's a changeto perform in front of an international audience,"said Scott J. Swanay '88, president of the GleeClub
...they weren't playing it for the money. For this weekly gig, for example, the take is $1,000 -- not exactly a fortune when split among so many. "It would be hard to make a living this way," said Corbin Wyant, the publisher-trombonist. "I don't think you could raise a family, plan retirement, those things. One of the best trombonists I've ever known now sells tools. It's really sad. He played with Stan Kenton." A moment later Wyant brought his own ax to bear on Kenton's wonderful Peanut Vendor...
...time Dale Turner (Gordon) gets to Paris to play an open-ended gig at the Blue Note in 1959, he is both a bop legend and a physical wreck. Too much booze and junk, so much energy spent to expand the boundaries of jazz. "Oh, yes, I'm tired," Dale croaks in his slow, reedy tones. "Of everything except the music." Francis (Francois Cluzet), a commercial illustrator who worships Turner's artistry, wants to change that. The mousy Frenchman is thrilled to be spoken to, listened to, used by his idol. He will manage Turner's life and finances, fight...
...Turner tells Francis. "The tree's growing inside you, naturally." Tavernier has dared to find his new film's style in the cool, dark colors and loping harmonics of bebop, and especially in the laconic tempo of Gordon's speech and walk. Gordon, whose only previous movie gig was a stroll-on in the 1955 melodrama Unchained, commands the screen with the dignity of an exhausted emperor. He mines humor from his fastidious diction, has a ponderous grace and takes pauses that could drive Pinter nuts with impatience. No trained actor could have delivered this performance...