Word: streets
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Dates: during 1980-1989
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...investigation was code-named White Mare, a name inspired by the color of the drug and the fact that heroin is often known as horse on the street. Drug experts called the FBI's penetration of a tightly knit Asian drug operation a major coup...
...keyboard is not only becoming pervasive across the U.S. but is also affecting the way music is learned and appreciated. Ever since the boards first hit the market in the early 1980s, rappers, rockers and street musicians have known that they were onto something cool. The sleek, usually portable instruments offered a solid beat, a big sound and all sorts of groovy techno- twists at a manageable price. Today keyboards are about a $600 million-a- year business. Some 15 million have been sold in the U.S. alone, where unit sales of electronic keyboards have outpaced the traditional acoustic-piano...
...always been a spellbinding storyteller; the narrative clarity of each movement instantly draws viewers into the roiling emotional life of his characters. In his comic ballets, visual gags fly past like precision pies in a Keystone caper. This show proves he is back where he belongs, on a street that belongs to him: Jerome Robbins' Broadway. He has prepared meticulously for this moment: nine months of research, 75 days of rehearsal and seven weeks of preview performances. "I wasn't just putting shows on the way they were," he says of this elephantine gestation. "I was redoing them all, putting...
...Broadway. One form fed the other. In 1943 he danced in Anthony Tudor's Romeo and Juliet; six years later, he devised his own Romeo and Juliet ballet, The Guests; in 1957 he reworked the theme for West Side Story and, the next year he adapted that show's street rhythms in his ballet N.Y. Export: Opus Jazz. His creativity and vigor seemed inexhaustible: 20 musicals and 19 ballets in 20 years. Even Robbins is impressed. "When I started doing this show," he says, "I looked at what I did then. Frankly, I was amazed...
...Jerry put us into certain positions," Comden says, "and we remembered the best we could, from our ancestral bodies or our unconscious. And then, of course, Jerry created more. We didn't want it to stop. Jerry stayed to keep working, and the four of us wandered into the street, clinging, clinging to whatever...