Word: kirstein
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Dates: during 1970-1979
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Midas Touch. Balanchine did go to the United States, though. The first Balanchine-Kirstein company, the American Ballet, went broke while on tour in Scranton, Pa., in 1935. Thanks partly to some fast lobbying by Kirstein, the troupe was taken on as the ballet wing of the Metropolitan Opera. Three years later the company dissolved as Balanchine went off to Hollywood to choreograph such films as The Goldwyn Follies and On Your Toes, and Kirstein enlisted in the U.S. Army...
...together again in 1946 to found the Ballet Society. This became the New York City Ballet in 1948, when the City Center, New York's cultural arm organized under Mayor Fiorello La-Guardia, offered the company a home in its theater, a converted Shriners' Temple. Balanchine and Kirstein had found the setting for their lifework...
...Kirstein's lifework, as it happens, takes in a good deal more than dance. A poet, art critic and onetime novelist, he seems to have an aesthetic Midas touch that produces quality in virtually everything he takes up. At Harvard he established and edited the magazine Hound and Horn, which from 1927-34 was among the most distinguished literary journals. The Harvard Society of Contemporary Art, which he co-founded in 1927, became the prototype for New York's Museum of Modern...
...headed into the Thirties. The Crimson seemed to be less and less a hard news paper. The (allegedly) weekly Bookshelf supplement added distinction to the tone of the paper, with articles by Lincoln Kirstein, Henry Murray, Theodore Spencer, and other noted figures in arts and letters. The pictorial supplement continued, as tame and proper as any Sunday rotogravure section, and photographs became a more important part of the paper itself. Football, in season and sometimes out, took up columns of front page space, and Hu Flung Huey, the Crimson's prognosticator, would monopolize Page One with his predictions for Saturday...
...poem by Lincoln Kirstein...