Word: metropolitanism
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That's certainly the case with the late-'70s metropolitan New York division, in Mark Christopher's 54. We are yanked back to Studio 54, the trash-glam Manhattan disco where, for a few years, simply everyone who did anyone was desperate to be seen. They had a blast at this all-night carnival of drugs, booze, sex, and a lot of pretty people who tawked funny. And the funniest was 54's co-owner and host Steve Rubell, the Elsa Maxwell of sleaze...
...elegant curtain of New York City's Metropolitan Opera House rose to reveal a seedy-looking bar. A drummer rapped out four crisp rim shots, and three dancers in bell-bottom trousers charged onstage. One of them was a 25-year-old whiz kid from Weehawken, N.J., starring in the premiere of his first ballet, a breezy tale of girl-crazy sailors on shore leave that he called Fancy Free. At a time when most Americans thought ballet meant women in tutus pretending to be birds, Fancy Free looked more like Fred Astaire than Swan Lake, and the music...
...question "How can it be dirty if you study it as an academic subject?" is examined in Los Angeles as registration begins for the four-day World Conference on Pornography. The presentation Mayor Giuliani is most likely to attend: "An Architectural Design for an 'Erotic Zone' in a Major Metropolitan City...
Judging by Zambello's history, that isn't a bad prediction. Six years ago, she staged Donizetti's popular Lucia di Lammermoor for New York City's Metropolitan Opera, and her vision of madness and death--the stage was strewn with coffins--drew catcalls from tuxedoed first-nighters expecting something considerably more romantic. In her version of Gluck's Iphigenie en Tauride, presented last fall by the New York City Opera, the two principal male characters were stripped down to skimpy loincloths and chained together, to underline what Zambello believes to be the opera's homosexual subtext. "Cesca...
...history. But the bearded Sousa also infused the classics into every River City he hit in his wide tours with the Marines and later with his own band. Music from Wagner's opera Parsifal was heard in the provinces nine years before it got to New York City's Metropolitan Opera, and Tchaikovsky, Dvorak and Grieg marched with the Marines on most of their journeys across dusty prairies and over mountains...