Word: moving
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Dates: during 1970-1979
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Musically the album is creative and rewarding. Like Hejira, her last album, Don Juan's Reckless Daughter continues to move away from the tight jazz-rock style of The Hissing of Summer Lawns. Several of the extraordinary musicians who played on Hejira contribute to the new album, particularly bass player Jaco Pastorius of Weather Report and drummer John Guerin of the L.A. Express...
...earning $35,000 annually in the prestigious top job at Missouri, Powers had to shell out $5,000 in escape money and take out a three-year promissory note for the remaining $50,000 at 9% interest. Powers, a onetime defensive back for the Oakland Raiders, views the move to Missouri as a boon to his career, however costly it may be. Says he: "The coaching profession is a very precarious one anyway. The same people that love you will fire you. But I'm sure going to read my contracts a bit closer...
...almost uncontained energy. Balanchine has set it for two couples, Karin von Aroldingen and Sean Lavery, Colleen Neary and Adam Luders, and, for the first time in over a decade, a corps of eight male dancers. In the fast sections, Balanchine uses sprung rhythms. Karin may start a staccato move just a little ahead of Colleen, or lead by an entire intricate pattern. The effect is similar to watching a dance lit by not one but two sets of strobe lights...
...first day after summer layoff, the real Balanchine told her, "I would like to do something for you." It was Ballo. Her huge almond-shaped eyes glow as she remembers that morning. "He told me that a new ballet is like putting on a new coat. You have to move around in it awhile before it is comfortable." Not too long, however. Balanchine began with a structure for Ballo, but no steps. Says Ashley: "He wears these clunky shoes and does funny things with his feet. Then you move and he looks. My pas de deux took about an hour...
This is a fair example of the author's wafting prose style. Phrases like "an awesome move toward humanness" and such gauzy generalizations as Communists "were like everybody else, only more so" swell throughout her pages. Yet the book does have a vital core. Gornick, an essayist for New York's Village Voice, stages her psychopolitical Liebestod with a living chorus of former Communist activists whom she interviewed in various parts...