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About vagansmom

  • Birthday August 16

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    musicality coach to dancers, professional dancer's parent
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  • State (US only)**, Country (Outside US only)**

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  1. I remember watching Liberace several times on the Ed Sullivan show, a hugely popular show watched weekly by families all over the USA. I just looked it up. He was on the show 6 times between 1954 and 1970. I think I remember reading about him in TV Guide too when I was a child. I thought he was funny. My mom always commented on his being a fine pianist.
  2. I well remember that period too. But in late 1996 and early 1997, Alexandra Ansanelli burst on the scene with her glorious musicality. I was smitten. A few years later, the very large crop of well-trained dancers who were now graduating from prestigious ballet schools began showing up on the NYCB stage. Ashley Bouder was the first, followed by so many of NYCB's current principal dancers. I think we owe it all to a combination of the yuppie years when many people were making making money hand-over-fist and could afford to send their children to the best ballet schools and to all the new schools popping up that were/are run by former Balanchine dancers. Ballet schools had their highest attendance during those years before soccer started to replace ballet as a childhood activity. So there were plenty of very well-trained dancers to choose from.
  3. We don't know that they didn't do any of this. We don't know what they said or didn't say to Finley beyond the moments with the pictures. I have had a really hard time with the posts about their relationships and the lawsuits because all we really know is what can be proven by text. There's so much more that exists only in the memories of the individuals involved. And memory itself is subject to interference.
  4. Perhaps I should have said that Reichlin's performance was more nuanced.
  5. That's interesting, Juliaj. I thought they weren't a good pair either, but I preferred Reichlin's movement quality to that of Mearns who looked too grounded to my taste for that ballet. I also thought the area in her shoulders and neck looked too stiff as compared to those of Reichlin. Her legs didn't fully define each step. Overall, I feel Mearns didn't complete all the movements, but streamlined them so they all looked alike. Reichlin, on the other hand, completed each step. I'm not a dancer, so I don't quite know how to express this.
  6. In a nutshell: because they're not the ones with the power.
  7. I had a similar injury at her age and saw a wonderful PT who said that the results were even among those who had surgery and those who had meds and good PT. I followed the latter route. It's now over 30 years later. I still have full range of motion in my neck. My sister, who chose surgery at the same age for the same problem (inherited), had to get a second surgery because the first one failed, and has been living with severe pain, loss of range of motion, pain meds (I'm not on any), and gets injections of various kinds every few weeks. She lives from injection to injection. All this is to say that you never know which is the best route, and as a dancer, I'd go the conservative, non-surgical route first. It seems more and more, curiously since the 2008 economic crash, that the AMA is stating that the same results can be had with non-surgical interventions for many conditions (I specifically remember knee issues and blocked arteries) as with the previously de rigeur surgical recommendations. Certainly, non-surgical is the less expensive option.
  8. Ok, since some people felt that talking about frontal lobes is diagnosing, I'll rephrase it in common language. Please know that I stated this was my opinion. An opinion is not a diagnosis. I believe that Waterbury is handling this immaturely.
  9. Canbelto, I also teach high school students, as well as middle school students and am a learning specialist who has taught many "Teens & Tweens" parenting series and teacher education series over more than 30 years. The final stage of childhood is 18-25. That is to say that the myelin on the neurons of the frontal lobes lays down somewhere within that age range, rendering a person a mature adult. All that middle and high school social media drama is intense, but it should be fading by the time individuals are Waterbury and Maxwell's ages. I don't see that Maxwell is behaving like a teen at all. I think she felt forced to defend her choices publicly and that she probably is sick of it all. On the contrary, I believe that Waterbury may be a late bloomer who may not yet possess the mature judgment of a frontal lobe myelinated individual. I am not commenting on the merits or otherwise of her case, but simply saying that her behavior is still stuck at an immature level.
  10. Does she have any solos in the Nutcracker?
  11. Nanushka, I read that article in full and came to that same conclusion: that she's moving away from classical ballet. I believe its demands are just too much for her body. IMO, she moved too quickly through the ranks, arriving at principal dancer with too many technical imperfections and not enough time (all those endorsement opportunities?) to work through them. I wonder if they, along with her age, have contributed to her recent spate of injuries. However, she chose a route that has brought her more financial security than she would have received otherwise. Make hay while the sun shines. I wouldn't begrudge her that if it weren't that other, better dancers have suffered from lack of roles. I lay that at McKenzie's feet, though. He too was taking advantage of quick money. In his case, though, I believe it's detrimental to the company longterm and to current morale, no matter how much dancers may like Copeland personally.
  12. I'm left to conjecture that her injury has prevented her all summer from learning the role, but that she kept hoping it would improve enough to get some rehearsal time in.
  13. Very disappointed in this news also. I generally avoid Kourlas's reviews. Oh well.
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