Word: taylorism
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Some scientists see the scare as a sneak preview of what could be the worst infestation since the medfly plague in 1980-82. "You have to beat down the stories that generate the scary movies," says Honeybee Specialist Orley Taylor of the University of Kansas, who was in California as an adviser. "But you also have to make people aware that you have something that is economically and biologically extremely difficult to handle...
Serious business, indeed. West Point, said General George S. Patton Jr., class of '09, is "a holy place." The academy, said General Maxwell Taylor, '22, is "not for everyone, only for those with a true vocation." That calling is to lead in battle. "Your mission," General Douglas Mac-Arthur, '03, told the cadets in 1962, "remains fixed, determined, inviolable: it is to win our wars...
Such detail must seem irrelevant to Director Taylor Hackford; he knows that White Nights will be a hit only if it is seen as an extended music and dance video. With ingenious duplicity, Hackford has worked ten new pop tunes, by Phil Collins and Lionel Richie, among others, into a ballet film set in the U.S.S.R. He has also had the inspiration, radical by the standards of recent musicals, to keep his dancers' feet in the film frame, and to hold a shot long enough to anchor the loping rhythms of Choreographer Twyla Tharp. Hines taps and boogies--and acts...
...Roses is Taylor's new affirmation, a celestial reverie on romantic love. Most of it is set to Wagner's Siegfried Idyll, a famous orchestral set piece that generations of concertgoers associate with the mythical warrior hero whose undoing came not in battle but in love. No matter. Taylor, though an astutely musical choreographer, has never cared much about the public history of the scores he picks. The Siegfried Idyll is the erotic pulse that the ballet moves to. In the long first section, five couples proclaim their love with both passion and a delicate concern for each other that...
Roses is hypnotic to watch now, but it will probably get even better. It requires the kind of elegant, vigilant partnering usually associated with classical ballet and not much required in Taylor's lexicon. The dancers move through their roles in a slightly gingerly fashion, but they will loosen up. It may be that Roses is a little too idealized and courtly. In mood it has links to both Arden Court (1981), a brimming, buoyant, rather randy celebration, and the earlier Aureole (1962), a formal, pristine "white" ballet danced to Handel. In all these works, Taylor is like a benign...