Word: touche
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Dates: during 1970-1979
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...appear once a week to display her photographs and provide accompanying commentary on subjects ranging from rodeos and aging to feminism and the Ku Klux Klan. "I don't call myself a seasoned journalist, but I've been taking pictures since I was 19," said Candy, a touch defiantly...
They have names like Ecstasy Unlimited, the Velvet Touch and This Is Heaven. They are in business mostly as "massage parlors," but when police try to shut them down, they squirm into some new designation-rap parlors, escort services, schools of sexual technique, nude encounter groups and even nude weight-lifting centers...
...stand ever ready to stay one jump ahead of the law. When Chicago parlor operators learned that state prostitution statutes made no mention of masturbatory acts, masseuses legally provided such services until the city uncovered a state obscenity statute that could be applied. The owner of Milwaukee's Touch of Class, who claimed to be running a legitimate business, closed down after the city passed a massage-parlor law. Then he threatened to reopen as a photographic-arts studio. The city discovered it also had regulations covering photo studios, so Touch of Class is now a nude-sketch studio...
...music of Tchaikovsky can hardly be said to have suffered over the years from underexposure. Yet here are four tone poems that most Tchaikovsky buffs will not know. The Storm is windy stuff at best and deserves its obscurity. But Fatum (Fate) and The Voyevode have an orchestral touch and programmatic flair that approach the popular 1812 Overture and Capriccio Italien. And The Tempest, written four years after Romeo and Juliet, is one of the composer's grandest scores. Conductor Inbal, an Israeli now in his second year as head of the Frankfurt Radio Symphony, puts it all into...
Brown argues against the popular conception of Cunningham's dance as having no meaning, a subject none of the other writers touch. Acknowledging that Cunningham leaves few clues about what he's doing, she nonetheless insists that "his own dancing is suffused with mystery, poetry and madness--expressive of root emotions, generous yet often frightening in their nakedness." She points to Cunningham's use of the dancer's internal sense of rhythm, explaining that his practice of rehearsing a piece by timing it over and over with a stopwatch is far from mechanical, as is often charged...