Word: sousas
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Crouching in a verdant pasture in the early summer sun, Eduardo Sousa plucks a few blades of grass and extends them toward a flock of geese. "Hello, my darlings," he coos. "Hello, hello, hello." It is the Spanish farmer's first visit to the Stone Barns Center, a farm and education center dedicated to sustainable agriculture in Pocantico Hills, some 30 miles (48 km) north of New York City, and Sousa is impressed with what he sees. "If I lived here," he says, reaching affectionately toward the geese, "I could make some amazing foie...
...lent it to William Wyler's The Collector, Volker Schlöndorff's The Tin Drum, George Miller's Mad Max Beyond Thunderdome, Paul Mazursky's Enemies; A Love Story and Jerry Zucker's Ghost. He could churn out military music in a minor key, like a sarcastic Sousa; that's what you hear under the espionage chicanery in Alfred Hitchcock's Topaz, ornamenting the anti-Nazi smuggling in John Frankenheimer's The Train and underlining the grand folly of two British soldiers' Afghanistan caper in John Huston's The Man Who Would Be King. At times Jarre mocked...
...which Lampoon President Matthew K. Grzecki ’10 read aloud to the nearly-filled room. “This is an unbelievably impressive showing,” said Grzecki before delving into selections from the book. This reissue is based on an original version owned by Gus Sousa, a rare book collector and resident of Salem, Mass. The ’Poonsters admitted in the foreward that the nearly century-old work might not appeal to readers with more modern tastes, saying that if the work was not their “‘best?...
...real.Travierso can also sing. As the Balladeer, he played a central role in executing Sondheim’s gorgeous score. “Assassins” is riddled with bits of American musical history, from the broad, open harmonies of folk to gospel’s ecstatic fervor. Even Sousa marches get their moments. In songs like “The Ballad of Booth” and (especially) “The Ballad of Czolgosz,” you could hear the country’s musical heritage talking to itself. “Assassins” is predicated...
...moved onstage later in the evening, coaching members of the class in their rendition of “Manson Trio” from “Pippin,” Neuwirth’s love of dance was evident. She first worked on this piece with fellow dancer Pam Sousa, who had learned it directly from Bob Fosse, the original choreographer. Neuwirth, who has also worked with Fosse in other productions, described him as a phenomenal choreographer, a perfectionist with great creative impulse. “Everything came out of one clear, specific vision,” she said. Woodies...