Word: ivans
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Dates: during 1960-1969
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...Youth Service of Solidarity and Friendship and has nearly 1,000 volunteers from Russia and Eastern Europe at work. Last week it announced that it will raise its strength to 2,500 (v. the U.S. Peace Corps' 14,000). The boss of the Red Peace Corps is Bulgarian Ivan Ganev, who runs the outfit from a crumbling villa in Budapest...
DeJesus is a worthy successor. He knows the South End well, and since August, when he took over, the Centro has rapidly expanded its activities. Two weeks ago he and two of the five Puerto Ricans hired by SNAP, Ivan Gonzalez and Tony Molino, unveiled another acronym--APCROSS (Association Promoting Constitutional Rights of the Spanish-Speaking APCROSS is a corporation, which means that it can solicit federal and state funds for employment, housing, and health programs directly, without depending on SNAP. A power struggle over the control and scope of APCROSS seems to be shaping...
Tony Molino, a short, slim, young man, has different ideas. "Ivan and I dreamed up APCROSS in my apartment. We invited Alfredo to join us later on. We want APCROSS to be completely independent of the Centro. The minister's board still pays Alfredo his salary, and we want to be free of any possible church influence. In fact, I can envision APCROSS ultimately taking control of the Centro...
Start 'Em Young. Today, while many Oriental string players get their major training in the U.S. with such top teachers as Gregor Piatigorsky and Juilliard's Ivan Galamian, home-grown instruction has turned into a near industry. The most famous Oriental string teacher is Japan's Shinichi Suzuki, 70, whose revolutionary start-'em-young technique produced tiny Miss Kasuya-one of a group of Suzuki prodigies now touring the U.S.-and her note-perfect Mozart. Suzuki's Talent Education Institute, founded in 1946, takes in pupils at the age of three, subjects them first...
PROKOFIEV: IVAN THE TERRIBLE (Melodiya/ Angel). Prokofiev composed this music for Sergei Eisenstein's movie Ivan the Terrible in the early 1940s, but his means (oratorio-like) and aims (monumental) hardly allow it to be described as background music. Much of it is so impressive as to provide ammunition for those who predict that the best new music will be composed expressly to serve other arts. Yet the other arts can overwhelm-as sometimes in this case, when the narrator in Ivan (theatrically intoned in lyrical Russian by Aleksander Estrin) makes the work sound to non-Russian-speaking listeners...