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Coppola and fellow screen writers Mario Puzo and William Kennedy present a mixture of fact and fiction as they center their story on Dixie Dwyer (Richard Gere), a coronet player, who becomes entangled in racketeering riff-raff after he saves the life of arch- mobster Dutch Schultz. The Dutchman hires Dyers to entertain his mistress Vera Cicero (Diane Lane), and the two, unfortunately for the Dutchman fall in love. Vera, however, sticks with the mobster because of his promise to buy her her own nightclub. Meanwhile back at the ranch. Dixie's brother Vince becomes embroiled in New York...

Author: By Rachel H. Inker, | Title: King Cotton | 12/18/1984 | See Source »

That's the only slow song on the album, though. The rest of the songs, led by Hal Shows's twangy guitar licks, are hard-edged rockers, firmly molded in traditional American rock'n roll (note, for instance, the main riff in "Kate Lit a Fire.") Although parts of the songs might sound like country rock, 1950s rock or ever 1960s psychedelic (the slightly distorted vocals in "Race Wars"), Persian Gulf is impossible to pigeonhole. Their music goes beyond its influences; they have their own unique sensibility...

Author: NO WRITER ATTRIBUTED | Title: Fatuous Fire, Hot Weather | 10/16/1984 | See Source »

...head arrangements." "We were fooling around at the Reno Club, and Basie was playing along in F," recalled one of his men. "He hollered at me that he was going to switch to D-flat and for me to 'set something.' I started playing that opening reed riff on alto. Hot Lips Page jumped in with the trumpet part without any trouble, and Dan Minor thought up the trombone part. That was it." That was One O'Clock Jump...

Author: /time Magazine | Title: Milestones: May 7, 1984 | 5/7/1984 | See Source »

...PLAY IMPROVES a great deal by the time we hit Arkansas and Act Two Jerome Kilty as The King, and John Bottoms as The Duke are both hilarious and pathetic as they dupe revivalists and riff-raff alike...

Author: By Hanne-maria Maijala, | Title: Downstream | 3/9/1984 | See Source »

...creations is already greater than her physical presence can encompass. She speaks fondly and volubly of her parents' inspiration. Her mother, who trained to be a concert pianist, insisted on lessons in several instruments, musical theory, plus extras like baton twirling (there is a fine baton riff in The Bix Pieces). Her father owned drive-in movie theaters around Los Angeles, which provided Tharp with an open-air classroom in popular culture. But she also remembers the satisfaction of watching him building and repairing his property, "brick and mortar, step by step." That is how Twyla Tharp has constructed...

Author: /time Magazine | Title: Dance: Tharp Moves Out from Wingside | 2/13/1984 | See Source »

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