Word: quartets
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Dates: during 1980-1989
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...commodity might also have spruced up The Love You Make, subtitled "An Insider's Story of the Beatles." Co-Author Peter Brown went to work for Brian Epstein when he was running the record department at one of the family music stores in Liverpool. Managing a scraggly rock quartet was a sideline. Epstein exalted the Beatles, of course, and was consumed by them. He was smitten with them all, and almost crazily in love with John Lennon. Brown attended at the beginning of all this and stayed past the end, when the Beatles set out on separate paths...
Before the women's mile relay the score stood at 61-61; the event had no bearing on the overseas venture, just the meet on hand Harvard's Sigrid Gabler led off and stayed even with her Yale counterpart until the handoff. When the Yale quartet went ahead for good...
...whom Fred Allen called "the man with the barefoot voice" brought to mind images from a simpler America: Will Rogers, Huckleberry Finn. Sentimental Godfrey choked up while narrating President Franklin Roosevelt's funeral for CBS Radio and shed tears on TV while listening to a women's quartet sing Down by the Old Mill Stream. He shocked (and delighted) housewives by using a toy outhouse as a comic prop. Performing a chicken noodle soup commercial for one of his TV sponsors, Lipton's, Godfrey made a cup, spooned through it, and said, "I see lots of noodles...
Tuesday's premiere performance showed the versatility of the troupe's technique in four markedly different pieces. The zany, humorous "Fontessa and Friends" opened the show with music by the Modern Jazz Quartet. Scott Joplin, Khachaturian, James P. Johnson and Linda Clifford. This lively spoof on ballet and love affairs has a definite plot Fontessa (April Brown) paces around in an evening gown, languishing for The Man, a strong, macho hunk danced by Keith McDaniel. Meanwhile, Ragtime (Ralph Glenmore), a cool Black dude reminiscent of Ben Vereen, laughs at lovers, audience and himself. He turns to the back...
...many fine courses already established which approach these disciplines more imaginatively; some students may well prefer them. But it would be foolish to maintain that students learn less about artistic inquiry by tracing the course of art in the Western world than by examining "The Development of the String Quartet." And it would be shameful to continue forcing students to eschew a broader grounding if they choose to seek...