Word: toure
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Dates: during 1980-1989
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...years ago, journalist John Fraser and photographer Eve Arnold undertook to cover a season (1986-87) with the American Ballet Theatre: the rehearsals, the tour, the filming of the Herbert Ross movie Dancers in Italy. Their achievement is that they manage to animate the dailiness of backstage life from the point of view of both the artistic management, led by Mikhail Baryshnikov, and the dancers. Fraser's prose may be gushy at times, and Arnold's photos are grainy, but both beat with life and explode with candor. The arias of shop talk, the revelation of fears and jealousies...
...film is inspired, from the hilarious credit sequence to Nielsen's first scene, in which he foils an anti-American plot by some of America's most notorious enemies such as Muammar Khaddafi and Idi Amin. The attempted killing of Nielsen's partner (O.J. Simpson) is a slapstick tour-de-force...
...Upon publication," the publicity blurb wretchedly announces, "Edward Abbey will tour the following cities: Los Angeles, San Francisco . . . New York and Washington." Why wretchedly? Because Abbey loyalists don't like to imagine their prophet -- that grand old desert solitary, that North American champion of the ideological beer-can toss -- getting anywhere near Los Angeles, New York or those other evil megaburbs. Somebody might package his crankiness for distribution in health-food stores, or subject him to relentless understanding on public...
Rattle and Hum, the title of both U2's brand-new album of the 1987 tour and the energetic performance documentary film released last week, is the sound of the band making contact: with music, with tradition, with their audience, with one another. The title comes from Bullet the Blue Sky, their rabble-rousing apocalypse about American muscle flexing in Central America ("In the locust wind comes a rattle and hum . . . Outside is America"), but the substance of these various tour diaries is, in fact, an exploration. U2 did more than reach back. They immersed themselves in American musical culture...
...that the band has chosen to chronicle its own musical wanderings, then set them -- and this is the big step -- parallel to a deeper, even more personal striving. The album's first cut, an atomic remake of the Beatles' Helter Skelter, sets the trajectory as if it were a tour itinerary, an emotional playground journey from the bottom to the top of a slide "Where I stop and I turn/ And I go for a ride/ Till I get to the bottom/ And I see you again." Many of the album's 17 songs deal with images of exile...