Word: lynch
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...inspirational teacher of the tough-love subset (there's no other kind in films) was also a radical, who attempted to organize a racially mixed union of tenant farmers, placing him (and his debaters) in considerable peril from near-riotous mobs. At one point, indeed, they encounter a lynch mob and barely escape with their lives. I don't know if that is a pure or an impure fiction, but it does not strike me as an entirely implausible sequence. I don't know if the composition of Tolson's team, as portrayed here, is entirely accurate either, since...
...debt, the traditional haven. The largest SWFs--the so-called Super Seven, comprising China, Russia, Abu Dhabi, Kuwait, Norway and two Singapore funds--control up to $1.8�trillion. By 2011, assets held by SWFs worldwide are projected to grow almost fourfold, to nearly $8�trillion, according to Merrill Lynch. By comparison, hedge funds--unregulated private investment pools--control a paltry $1.5�trillion to $2.6�trillion, according to estimates...
...Bayadère,” was quite lackluster as well. The chorus, which did not dance on pointe, should have put on a cohesive, clean performance, but instead proved boring and imprecise. The pas de deux by the two leads, Gamzatti (Amanda C. Lynch ’10) and Solor (Kevin Shee ’10) was not much better. The two dancers were clearly talented but completely mismatched: Shee visibly shook when lifting Lynch and strained when turning her. At one point, Lynch even took an unfortunate fall. She redeemed “La Bayad?...
...struck the ideal balance between the abstraction typical of modern dance and the visual appeal of classical ballet. The best moments of her exquisite choreography featured not only the usual leaps and turns but also interesting new movements, like dragged splits. She worked with the most talented HBC members: Lynch, Moore, Shee, Walker, and James C. Fuller ’10. Walker shone the brightest, but all five brought Schreier’s complex choreography to stunning fruition...
...Both incredible skills and sloppy execution characterized “Modern Muses.” While its first and last performances did not compare to those in between, one aspect remained consistent: its strong soloists. Miller, Moore, Lynch, and Shee brought skillful precision and lyrical prowess to the selections, suggesting a promising future...