dirac

Thank you for those, bart and rg. I'm going to take note of "Finestein on the Beach." I hear statements like “We’re still waiting on that,” all the time – it may have been regionally based once, but not any more. I’m not sure if the use of “impact” as a verb qualifies as an eggcorn. Although I don’t use it that way myself and never shall, the usage seems to have more or less officially arrived and in a generation or two I don’t think anyone will think twice about the matter.

Tucker Carlson and Jerry Springer tripping the light fantastic. This I gotta see. Wonder how Harry Hamlin is holding up.

Thanks, Ray. I hadn't heard of "eggcorns" before. I've seen 'free reign' in more than one review. I don't know if this counts as an eggcorn, but I often see 'won' standing in for 'won over.' (The writer will say, "He won me with this ballet," when he clearly means "He won me over with this ballet.")

From The Onion: My Use of Simile Sucks As Bad As the River Tide

That's absolutely right, and thank you for reminding me that "Six Balanchine Ballerinas" was not the first time I saw Hayden. :blush: And I just remembered that funny bit in Villella's autobiography where he recounts having to give Hayden a vitamin B shot in the rear.

I seem to recall Martins describing her in his book as "a sensationally challenging partner" or words to that effect.

I first saw her on camera in the documentary Dancing for Mr. B: Six Balanchine Ballerinas, and judging by that she seems to have been as strong and distinctive a presence offstage as on. Her comments, as quoted by Nancy Reynolds in “Repertory in Review,” on the changes in the company wrought by Balanchine’s preoccupation with Suzanne Farrell are perceptive and to the point. Her talk with Robert Tracy in the book “Balanchine’s Ballerinas” is one of the best in that volume.

I see what you’re getting at, cargill and quite right too, but I'd add, off topic, that the escapism of American cinema in the thirties was not so much a denial of the existence of the Hoovervilles as a response to them – and to the increasingly heavy hand of the censor over filmmaking. (And even in Fred and Ginger World, Rogers calls a police officer a “Cossack.”) “Swing Time” is as much a product of that terrible era as “Waiting for Lefty." (And there were writers and directors in Hollywood who were frustrated at having to focus mainly on fluff at such a time.) Very interesting post, Ray -- thank you.

papeetepatrick writes: Off topic. Riefenstahl has such an eye that her skills can undercut the point ostensibly being made, cf. the beautiful footage of Jesse Owens, a remarkable camera subject of whom she can’t get enough, and the shots of the Nazi leaders and the mass rallies in Triumph of the Will – she exposes them as she glorifies them. Perhaps Hitler should have chosen a less talented director.

Absolutely not. I think that is a decadent point of view. To deny in this instance was to try to rewrite history and 'get away with what was', and there is no reason to think that it 'no longer is' except for the fact the Nazis were defeated and Ms. Schwarzkopf is dead. One should still be able to appreciate her work completely, but there is no point in thinking that Ms. Schwarzkopf, even if not guilty of a 'crime' in denial, was anything less than fully dishonest and was probably fatuous as well, as she has even less remorse, from what I've seen thus far, than Leni Riefenstahl, and even Heidegger finally spoke to 'Der Spiegel' about the death camps. Ms. Schwarzkopf's declamation of 'Vissi d'Arte' proves her to be a con artist with a heavy layer of kitsch that's supposed to redeem her personal mediocrity. Her interest was in excusing her complicity, not that she thought it was truly innocent. I have actually met a surprising number of Germans who feel less guilty than the official line of their government would lead you to believe. Many Germans (and German Swiss and Swedes) are quite free with anti-Semitic remarks, although they know that it is not going to work again as policy. I have known a few personally who have praised Hitler's achievements with the Autobahn and said well, yes, some things did happen that 'are not so nice', but I am German. I know this is a subject about which many feel strongly, but I am cautioning everyone to avoid getting too personal and keeping the lid on the rhetoric. Thanks.

No -- but it's been said before, not necessarily here, when such cases as Schwarzkopf's come up. It’s a defensible position. I'm a political animal myself, but if I chose to listen to Schwarzkopf and admire her artistry knowing little or nothing about her political history, I'd be within my rights.

Yes and yes. "The artist is always beginning. Any work of art which is not a beginning, an invention, a discovery is of little worth. The very name Troubadour means a 'finder,' one who discovers." -- Ezra Pound I don't agree entirely with the above, but conscious breaking of boundaries does indeed happen from time to time. (And on the other side you have an artist like Manet, who seems to have been genuinely flummoxed at the fuss he caused.)

That's a very old question and there is definitely more than one answer to it. And you certainly don't need to feel ashamed of yourself -- that's your considered and thoughtful response, and it's a legitimate one.

I think you're right about Smuin, cargill -- can't think of the ballet at the moment. kfw, I defer to you on the womanly modesty angle. Edited to add that I was posting at the same time as Mme. Hermine -- thank you for the name of the ballet!

Wonderful! And if the oppressed ballerina is wearing a chador for the ultimate in modesty, she'll hardly be able to move!

A full and free post-war disclosure might have won her understanding -- or she might have been out of work for good. Perhaps she didn’t care to take the risk. After all, Legge hired her and others like Karajan when no one else would. She may have believed her career was at stake.

Yes. For what my two cents are worth, I think leonid and richard53dog (and others who've weighed in similarly) are both right. We should be careful about making facile judgments, and very few of us are heroes or heroes-in-the-making -- but I also suspect that Bing had the lady's number.

The New York Times obituary, by Anthony Tommasini, which delves into the disagreements about Schwarzkopf’s voice and approach, and the Nazi thing. He also discusses her husband, the late Walter Legge, who had a profound effect on her career. He did better by Schwarzkopf than Callas, IMO:

Very sad news, richard53dog. A great artist has left us. At least she lived a long, full life. I'm sure others will comment, and also post links as the obituaries and commentaries come in, but I would like to remind everyone that ideally when we post follow up links, we try to include comments or otherwise ensure that the thread doesn't become a list of links. Thank you very much!

Thanks, miliosr. Scheduling, scheduling.... :blush:

Colds, Coughs, and Allergies Night Big Hair Night

What’s wrong with ballet today and what to do about it: Carlos Acosta gives Charlotte Higgins an earful, in The Guardian. Experiment or face slow death: star warns of crisis in ballet Comments?

Thank you, Mel, your steadfast efforts to keep the thread focused are greatly appreciated. Alas for her, poor Mary I does appear to have been wanting in the charm department.

Yes, with this kind of programming there's no escape except walking out, as I've had to do here in S.F. on occasion.

We must have been reading a different book, canbelto. I didn't find it that difficult to follow, but tastes differ.