Word: slow
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Dates: during 1970-1979
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...very slow start, but our defense held us together in the first half," coach Carole Kleinfelder said yesterday...
...gathering constellation of torchlights nickered first at the corner of 18th and Castro streets, in the center of the homosexual community that makes up about one-eighth of San Francisco's population. Held high by marchers stepping to the slow cadence of three drums, the bobbing lights moved down Market Street, their brilliance growing as the grieving crowd multiplied. By the time they reached the steps of the bronze-domed city hall, the crowd of youthful homosexuals, male and female, had been joined by many more conventional citizens, and an army of some 30,000 mourners expressed the sorrow...
Before I continue you must understand who this Name I refer to is--Namo, faithful Namo, the unvanquished, undiminished, gonzo Major loon. He was a great, dark, swarthy Italian with a manner that was usually slow and friendly. But when he fixated, when he seized on an idea like getting druck or getting laid or going fast to someplace far away, he was dangerous. But I liked Namo and I even worried about him--I didn't think he had long to live--so we often travelled together, and we often found ourselves in difficult situations...
...Winthrop players do take a little while to warm up to their roles and the first few minutes of the play are a mite slow, but from the time Cromus (Mathew Gatson) appears the pace picks up, the rude puns start flying and everyone starts to loosen up. Julie Martz and Amy Gould as Doto and Dynamane have some nice moments together as they steadily abandon their resolve to die for "Master" and start appreciating the reasons to live presented by the hunky soldier boy. Gatson plays the philosophical guard charmingly, acting like a guy on his first date...
Perhaps due to the inspiration of the soloist, the orchestra seemed to be at its best in the Mozart; the playing was clean and usually understated. In the lyrical slow movement this clarity was especially evident. Here Peter Lurye managed the ensemble and the balance between the soloist and his orchestra successfully and the overall effect was quite enchanting. Unfortunately, Lurye did not always restrain his musicians sufficiently. They occasionally covered the sound of the bassoon, which with its low pitch and delicate tone was all too vulnerable to such attacks. Despite this serious problem, Sogg stole the show...