Word: tap
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Dates: during 2000-2009
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...sabotage? The Pentagon, which spends $50 million a year on computer-safeguard research alone, protects its systems from hackers by transmitting classified data on private telephone lines. These are usually encased in metal tubes and filled with high-pressure gas. A break in the tube resulting from an unauthorized tap causes a telltale loss of pressure. Furthermore, all classified files are in codes that are changed daily, even hourly for acutely sensitive information...
...Soviet Union as a Utopia of artistic freedom. But White Nights sails giddily over political realities like the farm animals in a Chagall landscape. When Kolya Rodchenko (Baryshnikov) is "welcomed back" by the KGB, he is put in the custody of Raymond Greenwood (Gregory Hines), a black tap dancer who defected from the U.S. after Viet Nam. Poor Raymond is a neurotic mess; glamorous Kolya has the nimble tread of melancholic star quality. Raymond agonizes about his family back home; Kolya never visits or mentions the family he must have left stranded. Raymond hates U.S. politics, but the disco beat...
Spoken towards the end of Graffiti, the performance at the Loeb Experimental Theater this weekend, these words could have been the (ideological) motivation for the show’s production. The heels of tap dancers beating on the stage, the percussionists banging pots and pans, the deejay scratching his records, the projection of spoken word performers’ voices, and the whisper of a graffiti spray can, combine to create an almost deafening roar...
...their introduction climaxes, a series of tap dance pieces takes over the central stage. Though the costume style and music range from hip-hop to be-bop, the dancers assume a common attitude in all the pieces. With their hiips thrown forward, shoulders back, they keep up an air of citified cool as they move about the stage. Like mythical hipsters, they mark out their territory, while their body language and facial expression flippantly warn not to mess...
...reminiscent of city streets during and after work-hours, dancers move on and off the stage so that while at one moment it may be crowded with bodies, at the next, it empties, giving two or three dancers the chance to show off more refined steps. And although the tap dancing is well-done and pleasantly rhythmic, it is when the Loeb’s small stage is filled that the dancing makes a statement in line with the introductory spoken word performance...