Word: staccatos
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Dates: during 2000-2009
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...wooden slip-ons were promoted as a means to flex the foot, strengthen the arch and tone leg muscles. In the 1970s they peaked in popularity, not as an orthopedic shoe but as inexpensive hippie footwear. Today the sandals with the trademark gold buckle and unmistakable staccato ticking sound are back. "Sales are up 630% from last year," says Alan Johnson, a buyer for Shoes.com "It started in January as a very metropolitan craze. Now they've spread to every corner." Their resurgence was probably boosted by Carrie Bradshaw, Sarah Jessica Parker's Sex in the City character, who clops...
...middle of the show loses speed as director Chuck Russell (The Mask, Eraser) runs out of creative ways to kill his victims. Many of the scenes, in fact, are shot with staccato cuts and scenes where the camera moves so jerkily that it is often difficult to discern who kills who. This is especially true in the digitally mastered shots, as Russell attempts to make up for poor quality digital rendering by swiftly cutting back and forth between the digital creatures and the rest of the action...
...dance. Shresthova moved in a manner completely different from the movement in pieces like Shade’s “Percussive Us,” but the difference was appropriate for the music and stunning in its own right. With captivating images in red and black, accompanied by staccato head and arm motions, Shresthova invoked the earth and sky, each movement precise and loaded with meaning. The audience was drawn in by the incredible stage presence of Shresthova and the obvious joy that accompanied her every movement...
...audience dancing. Not letting the pace lag, they moved into the universal funk favorite, Herbie Hancock’s “Chameleon.” Here the other half of the rhythm section came to the fore. The bassist punched out the pentatonic riff in swift staccato beats; the guitarist wailed out a crackling solo that was perfectly punctuated by the pianist’s driving accompaniment; and again Frankie brought the tune to its climax with his fierce trumpet chops...
When the women enter, the contrast of their performance is rather jarring after the slow quality of the men. The choreography is jumpy and the coordinated breathing of the dancers contributes to the staccato quality of the variation, which is not always in keeping with the languorous background music. Any lack of coordination stems, though, from the desire to contrast traditional roles of men and women in dance, and the result is favorable. The audience is impressed not only with the great strength and coordination necessitated by the weight-sharing maneuvers, but also by the juxtaposition of male and female...