Dancer Friend Quotes

But, alas, sleep did not come so easily to our weary friend. Like in a reel in which the dancers form two rows, so that one of their number can come skipping brightly down the aisle, a concern of the Count’s would present itself for his consideration, bow with a flourish, and then take its place at the end of the line so that the next concern could come dancing to the fore.

Good-bye, my dancer, my friend, my One and Only. I love you.

Ammanas slipped noiselessly forward until he was on the other side of the corpse. ‘It’s her, isn’t it.’ ‘It is.’ ‘How many times do our followers have to die, Cotillion?’ the god asked, then sighed. ‘Then again, she clearly ceased being a follower some time ago.’ ‘She thought we were gone, Ammanas. The Emperor and Dancer. Gone. Dead.’ ‘And in a way, she was right.’ ‘In a way, aye. But not in the most important way.’ ‘Which is?’ Cotillion glanced up, then grimaced. ‘She was a friend.’ ‘Ah, that most important way.

Life is beautiful and life is stupid. As long as you keep that in mind, and never give more weight to one than the other, the history of the galaxy, the history of a planet, the history of a person is a simple tune with lyrics flashed on-screen and a helpful, friendly bouncing disco ball of glittering, occasionally peaceful light to help you follow along. Cue the music. Cue the dancers. Cue tomorrow.

Listen up, Mount High-Hair," Gustav barked. "Say what you want about me, but lay off the rest of the team. I've been through a lot of stuff with these people. Nobody can tell me that Fancy Dancer and Lady Slick-Pants aren't heroes. Captain Gloom-Cape over there, too. And even Shrimp Charming has his moments." Briar leaned back in her chair. "I admire your ability to insult your friends *while* you defend them. It's a rare talent.

Now of all the bonds between homosexual friends, none was greater than that between friends who danced together. The friend you danced with, when you had no lover, was the most important person in your life; and for people who went without lovers for years, that was all they had.

Her neighbor’s husband fell in love with a girl who served coffee to him every morning. She was twenty-three and wanted to be a dancer or a poet or a physical therapist. When he left his family, his wife said, “Does it matter to you how foolish you look? That all our friends find you ridiculous?” He stood in the doorway, his coat in his hand. “No,” he said. The wife watched her neighbor get fat over the next year. The Germans have a word for that. Kummerspeck. Literally, grief bacon.

I am who I say I am, I'm not some fantasy of how you think you think you know or who I ought to be. I am a girl who is growing up in my own sweet time, I am a girl who knows enough to know this life is mine. I am this and I am that and I am everything in-between. I'm a dreamer, I'm a dancer, I'm a part-time drama queen. I'm a worrier, I'm a warrior, I'm a loner and a friend, I'm an outspoken defender of justice to the end. I'm the girl in the mirror who likes the girl she sees, I'm the girl in the gypsy shawl with music in her knees. I'm a singer and a scholar, I'm a girl who has been kissed. I'm a solver of equations wearing bangles on my wrist. I am bigger than i ever knew, I am stronger than before, I am every girl I have ever been, and all that are in store. I am who I say I am. I'm not some fantasy. I am the me I am inside. I am who I chose to be.

I have been taking stock of my 50 years since I left Wichita in 1922 at the age of 15 to become a dancer with Ruth St. Denis and Ted Shawn. How I have existed fills me with horror. For I have failed in everything -- spelling, arithmetic, riding, tennis, golf; dancing, singing, acting; wife, mistress, whore, friend. Even cooking. And I do not excuse myself with the usual escape of 'not trying.' I tried with all my heart.

Tom Dancer’s gift of a whitebark pine cone You never know What opportunity Is going to travel to you, Or through you. Once a friend gave me A small pine cone- One of a few He found in the scat Of a grizzly In Utah maybe, Or Wyoming. I took it home And did what I supposed He was sure I would do- I ate it, Thinking How it had traveled Through that rough And holy body. It was crisp and sweet. It was almost a prayer Without words. My gratitude, Tom Dancer, For this gift of the world I adore so much And want to belong to. And thank you too, great bear

If your friends don't want your boyfriend, what's the point?

The little girl’s sense of secrecy that developed at prepuberty only grows in importance. She closes herself up in fierce solitude: she refuses to reveal to those around her the hidden self that she considers to be her real self and that is in fact an imaginary character: she plays at being a dancer like Tolstoy’s Natasha, or a saint like Marie Leneru, or simply the singular wonder that is herself. There is still an enormous difference between this heroine and the objective face that her parents and friends recognise in her. She is also convinced that she is misunderstood: her relationship with herself becomes even more passionate: she becomes intoxicated with her isolation, feels different, superior, exceptional: she promises that the future will take revenge on the mediocrity of her present life. From this narrow and petty existence she escapes by dreams.

Every dancer knows that being technically perfect isn’t good enough. We need to know why we dance. For me, it’s to be connected. I’m inspired by my friends.

But Malone was thinking now and as he watched the men lighting cigarettes for each other in the dark, having sex beneath the trees, he turned to his friend and said in a wondering voice: “Isn’t it strange that when we fall in love, this great dream we have, this extraordinary disease, the only thing in which either one of us is interested, it’s inevitably with some perfectly ordinary drip who for some reason we cannot define is the magic bearer, the magician, the one who brings all this to us. Why?

God, could that dopey girl dance. Buddy Singer and his stinking band was playing 'Just One of Those Things' and even they couldn't ruin it entirely. It's a swell song. I didn't try any trick stuff while we danced--I hate a guy that does a lot of show-off tricky stuff on the dance floor--but I was moving her around plenty, and she stayed with me. The funny thing is, I thought she was enjoying it, too, till all of a sudden she came out with this very dumb remark. "I and my girl friends saw Peter Lorre last night," she said. "The movie actor. In person. He was buyin' a newspaper. He's cute." "You're lucky," I told her. "You're really lucky. You know that?" She was really a moron. But what a dancer.

Edges I am a child throwing rocks into the stream. Challenging the rushing water. Raising my fist and daring fate to do it worst. I am a dancer in the waves of the ocean. Swaying in time with the tide. Pirouetting, the current my only friend. I am the sun, rising across the canyon Ascending, and shinning down. Giving the illusion of perception and motion. I am thoughts like a rolling river. Water cascading over the rocks of my soul. Shaping, forming, conforming. I am the peace of the rain forest. Basking in solitude Tranquil, serene, transfixing angles. Reflecting from within. Dripping and dropping. Shaking it off. I am the dust of the galaxy. Yearning to know itself. I am the wind. Wandering. Searching. A storm brewing from within.

How long ago it was and how strange, but all dead friends come to life again sometimes.

Are you going to hand me over to him?" "I haven't decided yet," I teased, and he smiled again, erasing his momentary seriousness. "So, where'd you get the suit?" "Believe it or not, that lovely friend of yours, Willa," Loki said. "She brought me a whole slew of clothes last night. When I asked her why she was being so generous, she said it was out of fear that I would run around naked." I smiled. "That does sound like something you would do. Why are you wearing all black, though? Didn't you know you were going to a wedding?" "On the contrary," he said, doing his best to look unhappy. "I'm in mourning over the wedding." "Oh, because it's too late?" I asked. "No, Wendy, it's never too late." His voice was light, but his eyes were solemn. "May I cut in?" the best man asked. "No, you may not," Loki said. I'd started to move away from him, but he held fast. "Loki," I said, and my eyes widened. "I'm still dancing with her," Loki said, turning to look at him. "You can have her when I'm done." "Loki," I said again, but he was already twirling me away. "You can't do that." "I just did." He grinned. "Oh, Wendy, don't look so appalled. I'm already the rebel Prince of thine enemy. I can't do much more to tarnish my image." "You can certainly tarnish mine," I pointed out. "Never," Loki said, and it was his turn to look appalled. "I'm merely showing them how it's done." He began spinning me around the dance floor in grand arcs, my gown swirling around me. He was a brilliant dancer, moving with grace and speed. Everyone had stopped to watch us, but I didn't care. This was the way a Princess was supposed to dance on her wedding day. The song ended, switching to something by Mozart, and he slowed, almost to a stop, but he kept me in his arms. "Thank you." I smiled. My skin felt flushed from dancing, and I was a little out of breath. "That was a wonderful dance." "You're welcome," he said, staring intently at me. "You are so beautiful." "Stop," I said, looking away as my cheeks reddened. "How can you blush?" Loki asked, laughing gently. "People must tell you how beautiful you are a thousand times a day." "It's not the same," I said. "It's not the same?" Loki echoed. "Why? Because you know they don't mean it like I do?" We did stop dancing them, and neither of us said anything. Garrett came up to us. He smiled, but his eyes didn't appear happy. "Can I cut in?" Garrett asked. "Yes," Loki said, shaking off the intensity he'd had a moment ago, and grinned broadly at Garrett. "She's all yours, good sir. Take care of her." He patted Garrett on the arm once for good measure and gave me a quick smile before heading back over to the refreshment table.

But as a kid, I preferred the black side, and often wished that Mommy had sent me to black schools like my friends. Instead I was stuck at that white school, P.S. 138, with white classmates who were convinced I could dance like James Brown. They constantly badgered me to do the “James Brown” for them, a squiggling of the feet made famous by the “Godfather of Soul” himself, who back in the sixties was bigger than life. I tried to explain to them that I couldn’t dance. I have always been one of the worst dancers that God has ever put upon this earth.

However, Dorian's acceptance of Andrew only went so far. And it was nowhere near enough to allow him this close to Ashaya. "What are you doing here?" Though SnowDancer and DarkRiver had free range over each other's territory, the wolves preferred to stick to the higher elevations. Andrew's eyes shifted over Dorian's shoulder. "I can smell her." "Don't." The younger male grinned. "She's all over you, too. Is she as sexy as she smells?" Dorian knew Andrew was deliberately jerking his chain. "Why don't you come closer and find out?" "Do I look stupid?" "You look like a wolf." Andrew bared his teeth. "I thought we were friends." "And I thought you got posted back to San Diego." The other man shrugged. "I came back to visit my baby sister, check up on that mate of hers." "She's fine," Dorian said, relaxing a little at Andrew's deliberately nonaggressive stance. "I've been keeping an eye on her." "Yeah, I know. She's always muttering about how she has three over protective morons for brothers now. Andrew snorted. "Wait till she has a baby girl. I can't exactly see Judd being any less feral.

We all look for opportunities in the form of an ideal state of affairs; the perfect weather for picnic, enough time to call a friend, or a good offer to sell the house. The truth is, you have the power to create the state of affairs that you call opportunities.

You must learn to bend to open windows, my friend. That is why artists and dancers are closest to God. They clench their chests every day to salute the Creator, while opening up portals to the universe. The artist mediates and prays as he/she creates, knowing somewhere, deep down --- creativity is the highest transmission of love.

We lived only to dance. What was the true characteristic of a queen, I wondered later on; and you could argue that forever. “What do we all have in common in this group?” I once asked a friend seriously, when it occurred to me how slender, how immaterial, how ephemeral the bond was that joined us; and he responded, “We all have lips.” Perhaps that is what we all had in common: no one was allowed to be serious, except about the importance of music, the glory of faces seen in the crowd. We had our songs, we had our faces! We had our web belts and painter’s jeans, our dyed tank tops and haircuts, the plaid shirts, bomber jackets, jungle fatigues, the all-important shoes.

I'm Exie and despite what you may hear I am the best dancer here. No one else compares. So, don't even think you're going to come in here and take my time slots. With a slight smile,' Well, if you're that good then you shouldn't have to worry about it, should you' I said. Exie's bright smile forms smoothly across her face, 'I like you...

Both Pasquale and Rino turned out to be surprisingly good dancers, and we learned from them the tango, the waltz, the polka, and the mazurka.

When Linda danced, her body twisted and swayed in a hypnotic motion which caused envy among her dance friends.

He stopped visiting married friends. Married friends, he decided one evening after returning from a visit, depress me.

There are a great many women in the world. But in your entire life you only get a few friends.

JB's friends were poets and performance artists and academics and modern dancers and philosophers -- he had, Malcolm once observed, befriended everyone at their college who was least likely to make money -- and their lives were grants and residencies and fellowships and awards. Success, among JB's Hood Hall assortment, wasn't defined by your box-office numbers (as it was for his agent and manager) or your costars or your reviews (as it was by his grad-school classmates): it was defined simply and only by how good your work was, and whether you were proud of it.

I dread finding Cassius. I hope he is dead, because I’m afraid of him. He reminds me of Dancer—handsome, laughing, yet a dragon just beneath the surface. But that’s not why I’m afraid. I’m afraid because he has a reason to hate me, to want to kill me. No one in my life has had just cause before. No one has ever hated me. He will if he finds out. Then I realize it. How could the House ever be knit tightly with such secrets? It can’t. Cassius will know someone here killed his brother. Others will have lost friends, and so the House will devour itself. The Society did this on purpose; they want chaos. It will be our second test. Tribal strife.

Someone once called Lincoln two-faced. 'If I am two-faced, would I wear the face that I have now?' Lincoln asked." "Abraham Lincoln wasn't much of a dancer. 'Miss Todd, I should like to dance with you in the worst way,' he told his future wife. Miss Todd later said to a friend, 'He certainly did.'" John Quincy Adams was a first-rate swimmer. Once when he was skinny-dipping in the Potomac River, a women reporter snatched his clothes and sat on them until he gave her an interview.

I skipped between the dancers, twirling my skirts. The seated, masked musicians didn’t look up at me as I leaped before them, dancing in place. No chains, no boundaries—just me and the music, dancing and dancing. I wasn’t faerie, but I was a part of this earth, and the earth was a part of me, and I would be content to dance upon it for the rest of my life. One of the musicians looked up from his fiddling, and I halted. Sweat gleamed on the strong column of his neck as he rested his chin upon the dark wood of the fiddle. He’d rolled up the sleeves of his shirt, revealing the cords of muscle along his forearms. He had once mentioned that he would have liked to be a traveling minstrel if not a warrior or a High Lord—now, hearing him play, I knew he could have made a fortune from it. “I’m sorry, Tam,” Lucien panted, appearing from nowhere. “I left her alone for a little at one of the food tables, and when I caught up to her, she was drinking the wine, and—” Tamlin didn’t pause in his playing. His golden hair damp with sweat, he looked marvelously handsome—even though I couldn’t see most of his face. He gave me a feral smile as I began to dance in place before him. “I’ll look after her,” Tamlin murmured above the music, and I glowed, my dancing becoming faster. “Go enjoy yourself.” Lucien fled. I shouted over the music, “I don’t need a keeper!” I wanted to spin and spin and spin. “No, you don’t,” Tamlin said, never once stumbling over his playing. How his bow did dance upon the strings, his fingers sturdy and strong, no signs of those claws that I had come to stop fearing … “Dance, Feyre,” he whispered. So I did. I was loosened, a top whirling around and around, and I didn’t know who I danced with or what they looked like, only that I had become the music and the fire and the night, and there was nothing that could slow me down. Through it all, Tamlin and his musicians played such joyous music that I didn’t think the world could contain it all. I sashayed over to him, my faerie lord, my protector and warrior, my friend, and danced before him. He grinned at me, and I didn’t break my dancing as he rose from his seat and knelt before me in the grass, offering up a solo on his fiddle to me.

The old woman smiled sweetly at Fermin. My friend stroked her face and her forehead. She appreciated the touch of another skin like a purring cat. I felt a lump in my throat. 'A stupid question, wasn't it?' Fermin went on. 'What you'd like is to be out there, dancing a foxtrot. You look like a dancer; everyone must tell you that.' I had never seen him treat anyone with such delicacy, not even Bernarda. His words were pure flattery, but the tone and expression on his face were sincere. 'What pretty things you say,' she murmured in a voice that was broken from not having had anyone to speak to or anything to say.

And maybe it works the other way, too. Maybe being friends with someone can make you shut yourself off to stuff that you want to be a part of.” She doesn’t speak, just shifts her weight back and forth a few times. I look up at Nicole and give her what I hope is my most sincere look, because she has to know that I’m speaking the truth. “I never meant to turn you into someone you didn’t want to be. I don’t care what you do. If you want to be a cheerleader, then awesome. You can be a nun or a backup dancer for the Jonas Brothers. I don’t care. I just don’t want you to think you can’t be my friend and the things you want to be.

I decide that if I ever get to come back here under different, nonstressful circumstances, I will stay at this hotel and drink fruity drinks and lay in the sand until my skin looks like it had a makeout session with the sun. But today, I’m looking for an inconspicuous way into the water. We head out of the lobby and get waylaid by hula dancers in grass skirts handing out necklaces of flowers. Apparently Toraf doesn’t like necklaces of flowers; as one of the women raises it above his head, he slaps her hand away. I show him, as I accept the gift around my neck, that the woman with the coconut boobs was just trying to be his friend. Just like all the women he’s come across so far. “Humans are too weird,” he whispers, unconvinced. I wonder what Toraf would think of Disney World. Our hotel is right on the water, so we pass through the lobby to the back. The beach is lined with lounge chairs and umbrellas and people scantily clad and people who shouldn’t be scantily clad.

Are you afraid of me, Kalea?” Arms akimbo, she widened her stance to eye him like a tough little mouse. “Am I supposed to be?” “No. Are you?” She twisted up her mouth and studied him carefully. “You look very strange. Are your eyes supposed to glow red like that?” “They are.” “And your teeth? Are they supposed to be so long and sharp?” “I’m Andarion. We all have those teeth.” “Dancer…” Fain said in warning. “We’ve got company. We need to go. Fast.” He held his hand up to his brother before he turned back to the girl. “I’m your father, Kalea, and I’ve come to take you home.” All the defiant fire went out of her as her jaw dropped. Her lips quivered. “I really have a daddy?” He nodded. Tears filled her eyes, making them glisten. “You definitely have a father. And both your mother and I love you very much.” “I have a mommy, too?” she breathed in disbelief. “Yes.” Tears rolled down her cheeks. “I hate this place, Daddy. Please take me home.” She threw herself into his arms. Closing his eyes, Hauk held her close to his chest. While he loved and adored every child his friends had, it was nothing compared to what went through him as those little arms encircled his neck and she placed her head on his shoulder. Not even what he felt for Darice compared to this. She’s my little girl. All he wanted was to hold on to her forever. But

I’m a pretty good dancer,” Lion says. “Do you want to see me Floss?” “No,” she says, frowning. “Flossing will not help you save your friends and defeat the witches!” She is clearly exasperated. “I can do the Macarena,” Tin Man adds. The guardian sighs and shakes her head. “Save the Wizard first. Then get your friends. Then you can practice your dance moves.

After three years of music-hall and theatre I'm still the same: always ready too soon. Ten thirty-five. . . . I'd better open that book lying on the make-up shelf, even though I've read it over and over again, or the copy of Paris-Sport the dresser was marking just now with my eyebrow pencil; otherwise I'll find myself all alone, face to face with that painted mentor who gazes at me from the other side of the looking-glass, with deep-set eyes under lids smeared with purplish grease-paint. Her cheek-bones are as brightly coloured as garden phlox and her blackish-red lips gleam as though they were varnished. She gazes at me for a long time and I know she is going to speak to me. She is going to say: "Is that you there? All alone, therr in that cage where idle, impatient, imprisoned hands have scored the white walls with interlaced initials and embellished them with crude, indecent shapes? On those plaster walls reddened nails, like yours, have unconsciously inscribed the appeal of the forsaken. Behind you a feminine hand has carved Marie, and the name ends in a passionate mounting flourish, like a cry to heaven. Is it you there, all alone under that ceiling booming and vibrating beneath the feet of dancers, like the floor of a mill in action? Why are you there, all alone? And why not somewhere else?" Yes, this is the dangerous, lucid hour. Who will knock at the door of my dressing-room, what face will come between me and the painted-mentor peering at me from the other side of the looking-glass? Chance, my master and my friend, will, I feel sure, deign once again to send me the spirits of his unruly kingdom. All my trust is now in him----and in myself. But above all in him, for when I go under he always fishes me out, seizing and shaking me like a life-saving dog whose teeth tear my skin a little every time. So now, whenever I despair, I no longer expect my end, but some bit of luck, some commonplace little miracle which, like a glittering link, will mend again the necklace of my days. Faith, that is what it is, genuine faith, as blind as it sometimes pretends to be, with all the dissembling renunciations of faith, and that obstinacy which makes it continue to hope even at the moment if crying. "I am utterly forsaken!" There is no doubt that, if ever my heart were to call my master Chance by another name, I should make an excellent Catholic.

Imagine the islands in a great river. And imagine that normal folks must swim from island to island--imagine that is their only method. But you, friend, you are different. Because you, unlike the others, can see a bridge across that river, many bridges even, connecting all the islands, many bridges, each one made of a different story. And you cannot just see the bridges, you can walk across, drive across, conduct across, with passengers in tow, sure as an engineer conduct a train.

-"You are unbelievable." -"I hear that a lot from my lady friends," he agreed with a wink. -"And I'll bet you have plenty as a pole dancer. Like I said before, I need a tracker, not a Chippendale demon. So why don't you run off and hand-wash your gold lame G-string while I get on with the job. Don't worry. I won't tell Lucifer on you. He might try to stick me with someone worse, like your even more annoying twin brother." -"No need to wash anything, little witch, I prefer to go commando.

To Begin With, the Sweet Grass 1. Will the hungry ox stand in the field and not eat of the sweet grass? Will the owl bite off its own wings? Will the lark forget to lift its body in the air or forget to sing? Will the rivers run upstream? Behold, I say—behold the reliability and the finery and the teachings of this gritty earth gift. 2. Eat bread and understand comfort. Drink water, and understand delight. Visit the garden where the scarlet trumpets are opening their bodies for the hummingbirds who are drinking the sweetness, who are thrillingly gluttonous. For one thing leads to another. Soon you will notice how stones shine underfoot. Eventually tides will be the only calendar you believe in. And someone's face, whom you love, will be as a star both intimate and ultimate, and you will be both heart-shaken and respectful. And you will hear the air itself, like a beloved, whisper: oh, let me, for a while longer, enter the two beautiful bodies of your lungs. 3. The witchery of living is my whole conversation with you, my darlings. All I can tell you is what I know. Look, and look again. This world is not just a little thrill for the eyes. It's more than bones. It's more than the delicate wrist with its personal pulse. It's more than the beating of the single heart. It's praising. It's giving until the giving feels like receiving. You have a life—just imagine that! You have this day, and maybe another, and maybe still another. 4. Someday I am going to ask my friend Paulus, the dancer, the potter, to make me a begging bowl which I believe my soul needs. And if I come to you, to the door of your comfortable house with unwashed clothes and unclean fingernails, will you put something into it? I would like to take this chance. I would like to give you this chance. 5. We do one thing or another; we stay the same, or we change. Congratulations, if you have changed. 6. Let me ask you this. Do you also think that beauty exists for some fabulous reason? And, if you have not been enchanted by this adventure— your life— what would do for you? 7. What I loved in the beginning, I think, was mostly myself. Never mind that I had to, since somebody had to. That was many years ago. Since then I have gone out from my confinements, though with difficulty. I mean the ones that thought to rule my heart. I cast them out, I put them on the mush pile. They will be nourishment somehow (everything is nourishment somehow or another). And I have become the child of the clouds, and of hope. I have become the friend of the enemy, whoever that is. I have become older and, cherishing what I have learned, I have become younger. And what do I risk to tell you this, which is all I know? Love yourself. Then forget it. Then, love the world.

Oh arrive and leave. You were still half a child, Completing a dancing pose for but a moment, The pure form of a star constellation, which is One of the ways in which we overcome the mindless random order Of Nature, also just for a moment. For it was only when Orpheus sang That Nature awoke and heard, was quickened in alertness. Though far away in time, this stirred you. And you were somewhat Surprised that a tree considered so slowly and hesitated To join with you in hearing it. You sensed the very place where the lyre Raised itself aloft -; the mid-point which has never been heard. For you ventured your beautiful steps And you hoped, one day in holy celebration To alter the course and countenance of your friend. (Her friend is himself.)

I’m your friend now,” she told Harley as she massaged his neck and shoulders. “I have plenty of soul to spare. I’m rubbing it into you right now, can you tell?” She was kneading his lower back with her knuckles, and Harley nodded because the warmth was spreading. Pumpkin was making her way into his heart, lighting the corners of his empty soul with a red-gold flame. “You won’t be alone now,” Pumpkin crooned. “I’m part of you, like it or not.” And Harley could sleep. He could close his eyes without spinning away in darkness. He though that sleeping beside Pumpkin must be better than Frank Pike’s crazy sex adventures, but he would keep her a secret. He would keep her locked in that little chamber she’d reached with her fingers through the very walls of his back.

The dance began. Caran remained silent the entire time. When the instruments slowed to an end, a lute picking a light tune downward until there was no more music, Kestrel broke away. Caran gave her an awkward bow and left. “Well, that didn’t look very fun,” said a voice behind her. Kestrel turned. Gladness washed over her. It was Ronan. “I’m ashamed of myself,” he said. “Heartily ashamed, to be so late that you had to dance with such a boring partner as Caran. How did that happen?” “I blackmailed him.” “Ah.” Ronan’s eyes grew worried. “So things aren’t going well.” “Kestrel!” Jess threaded through milling people and came close. “We didn’t think you’d come. You should have told us. If we’d known, we’d have been here from the first.” Jess took Kestrel’s hand and drew her to the edge of the dance floor. Ronan followed. Behind them, dancers began the second round. “As it was,” Jess continued, “we barely made it into the carriage. Ronan was so listless, saying he saw no point in coming if he couldn’t be with you.” “Sweet sister,” said Ronan, “is it now my turn to share private things about you?” “Silly. I have no secrets. Neither do you, where Kestrel is concerned. Well?” Jess looked triumphantly between them. “Do you, Ronan?” He pinched the bridge of his nose between his fingers and thumb, brows rumpling into a pained expression. “Not anymore.” “You look lovely, Kestrel,” Jess said. “Wasn’t I right about the dress? And the color will go perfectly with the iced apple wine.” Kestrel felt giddy, whether form the relief of seeing her friends or because of Ronan’s forced confession, she wasn’t sure.

Magnus’s head was tipped back, his shimmering white suit rumpled like bedsheets in the morning, his white cloak swaying after him like a moonbeam. His mirrorlike mask was askew, his black hair wild, his slim body arching with the dance, and wrapped around his fingers like ten shimmering rings was the light of his magic, casting a spotlight on one dancer, then another. The faerie Hyacinth caught one radiant stream of magic and whirled, holding on to it as if the light were a ribbon on a maypole. The vampire woman in the violet cheongsam, Lily, was dancing with another vampire who Alec presumed was Elliott, given the blue and green stains around his mouth and all down his shirtfront. Malcolm Fade joined in the dance with Hyacinth, though he appeared to be doing a jig and she seemed very puzzled. The blue warlock who Magnus had called Catarina was waltzing with a tall horned faerie.The dark-skinned faerie whom Magnus had addressed as a prince was surrounded by others whom Alec presumed were courtiers, dancing in a circle around him. Magnus laughed as he saw Hyacinth using his magic like a ribbon, and sent shimmering streamers of blue light in several directions. Catarina batted away Magnus’s magic, her own hand glowing faintly white. The two vampires Lily and Elliott both let a magic ribbon wrap around one of their wrists. They did not seem like trusting types, but they instantly leaned into Magnus with perfect faith, Lily pretending to be a captive and Elliott shimmying enthusiastically as Magnus laughed and pulled them toward him in the dance. Music and starshine filled the room, and Magnus shone brightest in all that bright company. As Alec made for the stairs, he brushed past Raphael Santiago, who was leaning against the balcony rail and looking down at the dancing crowd, his dark eyes lingering on Lily and Elliott and Magnus. There was a tiny smile on the vampire’s face. When Raphael noticed Alec, the scowl snapped immediately back on. “I find such wanton expressions of joy disgusting,” he declaimed. “If you say so,” said Alec. “I like it myself.” He reached the foot of the stairs and was crossing the gleaming ballroom floor when a voice boomed out from above. “This is DJ Bat, greatest werewolf DJ in the world, or at least in the top five, coming to you live from Venice because warlocks make irresponsible financial decisions, and this one is for the lovers! Or people with friends who will dance with them. Some of us are lonely jerks, and we’ll be doing shots at the bar.

Come for a walk, dear. The air will do you good." Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls... the jailer Erik... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance. On another day, she wandered with him, hand in hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skillful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theatre. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips: "You, a sailor!" And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practicing their steps, in the hope of becoming great dancers one day, "covered with diamonds..." Meanwhile, Christine gave them sweets instead. She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practiced every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies. She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales.

Often, when I went out for breakfast on Sunday morning, at the Mediterranean place around the corner, I was seated by a dancer who’d been a year ahead of me at school and waited on by a painter who’d been two years ahead. At night, Don and I could meet Lauren for Thai food, or Leigh and Allison for gin and tonics at the Rat Pack–era bar on Bedford and watch an alternative circus, which involved one college friend of mine eating fire, another clowning in the style of Jacques Lecoq, another riding a unicycle and playing trombone. For me, this was heaven, heaven that could only be improved by Jenny moving in down the street. For Jenny, though, it turned out this was hell. She had cast off such childish things. Heaven was, she told me, eyes shining, driving to a large supermarket and unloading a week’s worth of groceries directly into her apartment from her designated parking spot.

Someday Come Knowing you might some day come and how unprepared I’ve always been like Mr. Sloppy in Charles Dickens’ our Mutual Friend I made a list: not meat, vegetables, beer and pudding but number l, warmth. number 2, warmth. number 3, warmth. number 4, a good snuggler. number 5, someone who sings while he/she works. number 6, a dancer. number 7, someone who grows & is intrigued by the mind. And by the spirit too. Number 8, someone who is loved by animals; and loves them back without a thought. number 9, someone who smells delicious. number 10, someone whose anger lasts no longer than mine. number 11, someone who stands beside me. behind me. If necessary in front of me. number 12, someone who is a passable cook. number 13, Someone who laughs a lot, thinks I have a fine sense of humor & has friends. number 14, someone who can be original in dress: stylish warlock –In silver, lapis & black – to my witch.

I feel as if there’s a gnome inside my head, banging away at my skull with an axe. I ought to give him a name. Something nice and gnomish. Snorgoth the Skullcrusher.” “Now,” said James, “that was witty and charming. Think of Snorgoth. Think of him taking an axe to people you don’t like. The Inquisitor, for instance. Perhaps that can help you get through the party. Or—” “Who is Snortgoth?” It was Eugenia, who had come up to them, her yellow cap askew on her dark hair. “Never mind. I am not interested in your dull friends. Matthew, will you dance with me?” “Eugenia.” Matthew looked at her with weary affection. “I am not in a dancing mood.” “Matthew.” Eugenia looked woebegone. “Piers keeps stepping on my feet, and Augustus is lurking about as if he wants a waltz, which I just can’t manage. One dance,” she wheedled. “You’re an excellent dancer, and I’d like to have a bit of fun.” Matthew looked long-suffering but allowed Eugenia to lead him out onto the floor.

I’m in mid-passage, darling,” he said, beginning to talk like a queen so as to demystify himself, so as to destroy the very qualities John Schaeffer had fallen in love with, “I’m menopausal, change of life, hot flashes, you know. Wondering how much longer I can go without hair transplants and whether Germaine Monteil really works on the crow’s feet. I’ve had it, I’ve been through the mill, I’m a jaded queen. But you, dear, you have that gift whose loss the rest of life is just a funeral for—why else do you suppose those gray-haired gentlemen,” he said, nodding at his friends on the floor, “make money, buy houses, take trips around the world? Why else do they dwindle into a little circle of close friends, a farm upstate, and become in the end mere businessmen, shop-owners, decorators who like their homes filled with flowers and their friends flying in on Air France and someone pretty like you at the dinner table? It is all, my dear, because they are no longer young. Because they no longer live in that magic world that is yours for ten more years. Adolescence in America ends at thirty.

Thirty-nine-year-old moderately successful Human Resources Director. Interests include regency romances, reality TV, and baking large novelty birthday cakes for other people’s children. Hobbies include drinking Tia Maria and eating Turkish delight in the bath and dining out with her mum and dad. Wanted to be a ballerina but didn’t end up with a ballerina body; however, has been told she is an impressive dirty dancer when drunk. Knows her wine, so please just hand the wine list over. Godmother to nine children, member of two book clubs, Social Club Manager for the Australian Payroll Officers’ Association. Suffers from a severe blushing problem but is not shy and will probably end up better friends with your friends than you, which you’ll find highly irritating after we break up. Has recently become so worried about meeting the love of her life and having children before she reaches menopause that she has cried piteously in the middle of the night. But otherwise is generally quite cheerful and has on at least three separate occasions that she knows of been described as ‘Charming’. Yep, that about summed it up. What a catch.

Lady Cameron,” he said, playing his role with elan as he nodded toward Ian. “You recall our friend Lord Thornton, Marquess of Kensington, I hope?” The radiant smile Elizabeth bestowed on Ian was not at all what the dowager had insisted ought to be “polite but impartial.” It wasn’t quite like any smile she’d ever given him. “Of course I remember you, my lord,” Elizabeth said to Ian, graciously offering him her hand. “I believe this waltz is mine,” he said for the benefit of Elizabeth’s avidly interested admirers. He waited until they were near the dancers, then he tried to sound more pleasant. “You seem to be enjoying yourself tonight.” “I am,” she said idly, but when she looked up at his face she saw the coolness in his eyes; with her new understanding of her own feelings, she understood his more easily. A soft, knowing smile touched her lips as the musicians struck up a waltz; it stayed in her heart as Ian’s arm slid around her waist, and his left hand closed around her fingers, engulfing them. Overhead a hundred thousand candles burned in crystal chandeliers, but Elizabeth was back in a moonlit arbor long ago. Then as now, Ian moved to the music with effortless ease. That lovely waltz had begun something that had ended wrong, terribly wrong. Now, as she danced in his arms, she could make this waltz end much differently, and she knew it; the knowledge filled her with pride and a twinge of nervousness. She waited, expecting him to say something tender, as he had the last time. “Belhaven’s been devouring you with his eyes all night,” Ian said instead. “So have half the men in this ballroom. For a country that prides itself on its delicate manners, they sure as hell don’t extend to admiring beautiful women.” That, Elizabeth thought with a startled inner smile, was not the opening she’d been waiting for. With his current mood, Elizabeth realized, she was going to have to make her own opening. Lifting her eyes to his enigmatic golden ones, she said quietly, “Ian, have you ever wanted something very badly-something that was within your grasp-and yet you were afraid to reach out for it?” Surprised by her grave question and her use of his name, Ian tried to ignore the jealousy that had been eating at him all night. “No,” he said, scrupulously keeping the curtness from his voice as he gazed down at her alluring face. “Why do you ask? Is there something you want?” Her gaze fell from his, and she nodded at his frilled white shirtfront. “What is it you want?” “You.” Ian’s breath froze in his chest, and he stared down at her lustrous hair. “What did you just say?” She raised her eyes to his. “I said I want you, only I’m afraid that I-“ Ian’s heart slammed into his chest, and his fingers dug reflexively into her back, starting to pull her to him. “Elizabeth,” he said in a strained voice, glancing a little wildly at their avidly curious audience and resisting the impossible impulse to take her out onto the balcony, “why in God’s name would you say a thing like that to me when we’re in the middle of a damned dance floor in a crowded ballroom?” Her radiant smile widened. “I thought it seemed like exactly the right place,” she told him, watching his eyes darken with desire. “Because it’s safer?” Ian asked in disbelief, meaning safer from his ardent reaction. “No, because this is how it all began two years ago. We were in the arbor, and a waltz was playing,” she reminded him needlessly. “And you came up behind me and said, ‘Dance with me, Elizabeth.’ And-and I did,” she said, her voice trailing off at the odd expression darkening his eyes. “Remember?” she added shakily when he said absolutely nothing. His gaze held hers, and his voice was tender and rough. “Love me, Elizabeth.” Elizabeth felt a tremor run through her entire body, but she looked at him without flinching. “I do.

You coming with us?” “Not this time. I’ve got a different errand to run.” “Okay.” She reached up and tucked my hair behind my ear affectionately. “Be careful. I wouldn’t want anything to happen to the worst Spanish student in the history of the language.” I laughed. “No probelmo.” By the time I found Reth, he was deep in discussion with the banshees, their discordant voices chiding him for something or other. I hated to pull him away from getting chewed out, but it had to be done. Another faeries, all spring and mint green, was with him. After briefly explaining about the location of the dancers, she left to retrieve them. I wanted to send Reth because I trusted him more, but he didn’t look good. I’d keep him with me so I could keep an eye on him. He wouldn’t ask for help—not from anyone—but I’d be there no matter what. When we got back to the house, Lend was already there with several grocery bags full of bread. Reth turned his head away as though the very sight of it was distasteful. “Even the food of this world is nothing but decay.” Clearly he had never tried pizza, because honestly. We linked hands—my ex-boyfriend, my boyfriend, and my former friend-then-enemy-then-friend and I—and walked through a door to see if maybe empty carbs were good for something after all.

Years later I saw a film - poignantly sad, and for me unbearably so - about a scientist who had invented a kind of total sense recorder, not just video but audio and smellio and touchio and the rest, which he set to play every afternoon in a given place a given time, for as long as the mechanism lasted. The scene he projected was that of a dozen or so young couples dancing on a terrace in the same holiday house, on the same island, where the recorder itself was kept. Then this young man comes across it while it is playing and at first is convinced he is watching a real occurrence: he sees this beautiful girl, in her slinky 1930s outfit, dancing and laughing and chattering with her friends, and he falls in love with her on the spot. Second day, same time around, he comes to the island at a slightly different time so he sees a slightly different excerpt, and still doesn't twig and falls deeper in love. And so on and so forth for various days until he happens on a duplicate bit and realises something is wrong. But by then, of course, he is irretrievably hooked. So what does he do? He digs out the machine, fiddles with its insides until he has grasped its workings, and then sets it up in recording mode and records himself into the scene in a desperate last-ditch attempt to join the dancers. Which works, and there he stays: trapped there amongst them in a virtual dimension, forever young, forever re-enacting the same little loop of life, over and over.

During the last two decades of the nineteenth century and the first of the twentieth, France enjoyed an upsurge of artistic flourishing that became known as La Belle Epoque. It was a time of change that heralded both art nouveau and post impressionism, when painters as diverse as Monet, Cezanne and Toulouse Lautrec worked. It was an age of extremes, when Proust and Anatole France were fashionable along with the notorious Monsieur Willy, Colette's husband. On the decorative arts, Mucha, Gallé and Lalique were enjoying success; and the theatre Lugné-Poe was introducing the grave works of Ibsen at the same time as Parisians were enjoying the spectacle of the can-can of Hortense Schneider. Paris was the crossroads of a new and many-faceted culture, a culture that was predominately feminine in form, for, above all, la belle Epoque was the age of women. Women dominated the cultural scene. On the one hand, there was Comtesse Greffulhe, the patron of Proust and Maeterlinck, who introduced greyhound racing into France; Winaretta Singer, Princesse de Polignac, for whom Stravinsky wrote Renard; Misia Sert, the discoverer of Chanel and Diaghilev's closest friend. On the other were the great dancers of the Moulin Rouge, immortalised by Toulouse lautrec — Jane Avril, Yvette Guilbert, la Goulue; as well as such celebrated dramatic actresses as the great Sarah Bernhardt. It would not be possible to speak of La belle Epoque without the great courtesans who, in many ways, perfectly symbolized the era, chief of which were Liane de Pougy, Émilienne d'Alençon, Cléo de Mérode and La Belle Otero.

Amy?" he breathed. Two dancers, caught up in the dance, didn't see him standing there and collided with him, nearly knocking him down. "Lord Charles!  I beg your pardon!" But he never heard them.  He never saw them.  He had eyes only for the stunning beauty who was being swept around the dance floor by Gareth's friend Perry.  She was a ravishing young woman in shimmering peacock and royal blue whose beauty commanded the eye, the attention, the heart — and made every other woman in the room pale to insignificance. Charles's mouth went dry.  His heartbeat cracked his chest and he forgot to breathe. Another set of dancers collided with him, knocking him to his senses.  Angrily, he stared into the amused eyes of Gareth's friend Neil Chilcot, another Den of Debauchery member who was partnering a grinning Nerissa.  "Gorgeous young woman, isn't she?" quipped Chilcot, sweeping Nerissa past.  "You should've stuck around to see her announced, Charles.  Not that you'll ever have a chance of claiming a dance with her now, what with all the young bucks before you already waiting . . ." Charles had heard enough.  But as he stalked across the dance floor, he heard even more. "Well, His Grace told me she's an heiress . . ." "Not just an heiress, but a princess from some vast Indian nation in America . . ." ". . . came here to offer her tribe's help in the war against the Americans . . ." Charles clenched his fists.  Lucien.  No one else could have, would have, started and circulated such a preposterously crazy rumor!  What the hell was his brother trying to do, get Amy married off to some handsome young swain and out of Charles's life forever?  This was no training for a lady's maid, that was for damned sure! His jaw tight, he stormed across the dance floor toward Amy.  He saw her hooped petticoats swirling about her legs and exposing a tantalizing bit of ankle with every step she took, the laughter in her face even though she kept glancing over Perry's shoulder in search of someone, the studied grace in her movements that, a week ago, he would've sworn she didn't have. She had not seen him yet, and as Perry, a handsome man who had something of a reputation with the ladies, led her through the steps, Charles felt a surge of jealousy so fierce, so violent, that it made him think of doing something totally irrational. Such as calling Perry out for dancing with his woman. Such as killing Lucien for whatever little game he was playing. Such

Two days before the Iron Rain over Mercury, the Senate, led by my old friend Dancer, voted against my proposal. They told me to maintain the siege. To not waste men, resources, on an assault. I disobeyed and let the Rain fall. Now a million of my men lie in the sands of Mercury and we have our Liberation Day.

I’ve spent the last 11 years meditating, concentrating, contemplating, applicating, educating, investigating, and instigating a higher ideal. I’ve been a born again Christian, a crystal holding new age visualizationist, a Buddhist, a Hindu, a Christian scientist, a universalist, a bullshit artist, a seeker of truth, a charlatan, a holy roller, a shamanistic dancer, a guru, a disciple, and an enigma to my friends.

that everyone else has probably completely forgotten the incident, but I think it’s going to take quite a while for me to get over it. For some reason though, I suspect that one particular girl in our class had something to do with it all. Call it gut instinct or intuition, but I have a sneaking suspicion that somehow she was involved. Thinking back before that doomed day, life had been pretty good. My best friend, Millie and I had auditioned for the school musical and we were both selected for major roles. Being in grade seven gave us an advantage over the younger kids, that and of course the fact that we were both dancers. The best part was that we’d also been asked to choreograph sections of the performance and this was a huge honor. Miss Sheldon, the performing arts teacher who was in charge of the production, had given us the responsibility of coming up with some routines and teaching the other kids the dance moves they needed to learn. We were so excited about this, especially because we’d been left in charge. Miss Sheldon is the coolest teacher ever!

Etta wrote an amazing essay on how the difference between a good dancer and a great one is caring about the tiny imperfections that no one else may notice, but as a dancer you do. What sets her apart from her peers is, though all humans are flawed, she enjoys the journey of working on her imperfections to try to become a better version of herself. She doesn’t do it for her teachers, for her family, or for her friends; she does it for herself because it is on stage that she comes alive as the best version of herself.

Maybe she’d call up Fury and see if she could pay a little visit to Sabine. But—she’d never ask that of Fury. Fury kept her professional shit out of their lives, and they knew better than to ask too many questions. Only Juniper could get away with it. Honestly, it made no sense that any of them were friends: the future Alpha of all wolves, an assassin for high-paying clients waging war across the sea, a stunningly talented dancer and the only faun ever to grace the stage of the Crescent City Ballet, and … her.

The Token Black Girl is characterized mostly by her proximity to her white peers and her nonthreatening and friendly nature. She is nonthreatening because she is almost never the romantic interest, and her primary function is to provide “attitude” and “sass,” either as humor or as an attempt to elevate the sex appeal of the otherwise all-white entity. She is a good student because she has to be. She actually feels like she has to be good at everything. She’s almost always a good dancer, and even if she’s not, it doesn’t matter because everyone will still think she’s a good dancer. She either has or can get the requisite social signifiers of acceptance—everything except white skin, of course. She will be well spoken, well dressed, and well groomed. She likes all the things her friends like, including boys, but they will not like her. She almost never acknowledges her position as the sole Black member of a group because talking about race makes white people uncomfortable. She can never make white people uncomfortable. Her most critical responsibility is providing protection against the “racist” label that might otherwise be hurled at a gaggle of white women devoid of ethnic variety.

Jimmy Fratianno did worry and rightly so, for he suffered for Sinatra’s behaviour being hassled by the Vegas cops – until he had a word that someone might get much more than hassled unless the aggravation against him ceased. The Mob thought Sinatra stupid for his behaviour. It was not the place or time. Nevertheless, in those fledging days at the Desert Inn, with seven different law agencies monitoring operations, Sinatra also spent even more time with Johnny Rosselli, who was the perfect mobster for Las Vegas. He could be anything anybody wanted him to be. He was attractive to women (by now lovers included Betty Hutton, Lana Turner and Donna ‘It’s A Wonderful Life’ Reed) and Sinatra found him fun, good company and a generous all-around guy. He was a facilitator. He could arrange the murder of ‘Russian Louis’ Strauss who tried to blackmail his friend Benny Binion the owner of the Horseshoe Casino. He could get a girl a date with Frank Sinatra and vice versa. He met with Howard Hughes, who had a jealousy-inspired (Marilyn Monroe and Ava Gardner) lifetime hatred for Sinatra, and acted as Hughes’s go-between with Meyer Lansky and Moe Dalitz. They said George Raft was a great dancer, yet Johnny Rosselli could expertly waltz to anybody’s tune.

Lotari turned back to the dance floor in time to see Stitch spin Carah before sweeping her into a low dip. Stitch grinned at Jerin and gave him a wink. Jerin's fist clenched. His face went from red to almost purple. Lotari thought he might need to intervene before this got out of hand and Jerin pulled out the sword. He glanced at Alyra. The bird was gone. The girl sat wide-eyed, her hands fumbling with something beneath the table. "Ooh, oh, my." The palomino stumbled. Lotari rushed over to help. "Oh, my leg. My leg!" he limped, draping his arm over Carah's shoulder. "Please, my dear, help me over to my friends where I can rest it a moment. Ohhh, this is tragic. I was having such fun. Oh my." Lotari stopped, realizing Stitch had suddenly switched the leg he limped on. "I am sorry. You are such a marvelous dancer. Jerin, you must take her out for me. She is much too good to be another wallflower." Jumping right into the game, Lotari gave the big man a hard push. "Yes, you must." Carah's gaze narrowed on Stitch with suspicious amusement. Perhaps realizing the opportunity given her, she smiled endearingly, turning the solid young man into a puddle of mush. "I'll be most grateful if you could finish the song with me, Jerin." She even flipped her strawberry curls from her face. Perfect. Lotari wasn't sure, but thought Jerin said something that sounded like, "Ilbebbedgladtoooo." As he led Carah to the dance floor, Stitch and Lotari clapped each other's back. "Well done, Son" Lotari looked toward Alyra. "Pure brilliance." She was gone.

It was her concern and commitment to a friend which last year involved her in perhaps the most emotional period of her life. For five months she secretly helped to care for Adrian Ward-Jackson who had discovered that he was suffering from AIDS. It was a time of laughter, joy and much sorrow as Adrian, a prominent figure in the world of art, ballet and opera, gradually succumbed to his illness. A man of great charisma and energy, Adrian initially found it difficult to come to terms with his fate when in the mid-1980s he was diagnosed as HIV positive. His word as deputy chairman of the Aids Crisis Trust, where he first met the Princess, had made him fully aware of the reality of the disease. Finally he broke the news in 1987 to his great friend Angela Serota, a dancer with the Royal Ballet until a leg injury cut short her career and now prominent in promoting dance and ballet. For much of the time, Angela, a woman of serenity and calm practicality, nursed Adrian, always with the support of her two teenage daughters. He was well enough to receive a CBE at Buckingham Palace in March 1991 for his work in the arts--he was a governor of the Royal Ballet, chairman of the Contemporary Arts Society and a director of the Theatre Museum Association--and it was at a celebratory lunch held at the Tate Gallery that Angela first met the Princess. In April 1991 Adrian’s condition deteriorated and he was confined to his Mayfair apartment where Angela was in almost constant attendance. It was from that time that Diana made regular visits, once even brining her children Princes Willian and Harry. From that time Angela and the Princess began to forge a supportive bond as they cared for their friend. Angela recalls: “I thought she was utterly beautiful in a very profound way. She has an inner spirit which shines forth though there was also a sense of pervasive unhappiness about her. I remember loving the way she never wanted me to be formal.” When Diana brought the boys to see her friends, a reflection of her firmly held belief that her role as mother is to bring them up in a way that equips them for every aspect of life and death, Angela saw in William a boy much older and more sensitive than his years. She recalls: “He had a mature view of illness, a perspective which showed awareness of love and commitment.” At first Angela kept in the background, leaving Diana alone in Adrian’s room where they chatted about mutual friends and other aspects of life. Often she brought Angela, whom she calls “Dame A”, a gift of flowers or similar token. She recalls: “Adrian loved to hear about her day-to-day work and he loved too the social side of life. She made him laugh but there was always the perfect degree of understanding, care and solicitude. This is the point about her, she is not just a decorative figurehead who floats around on a cloud of perfume.” The mood in Mount Street was invariably joyous, that sense of happiness that understands about pain. As Angela says: “I don’t see death as sad or depressing. It was a great journey he was going on. The Princess was very much in tune with that spirit. She also loved coming for herself, it was an intense experience. At the same time Adrian was revitalized by the healing quality of her presence.” Angela read from a number of works by St. Francis of Assisi, Kahil Gibran and the Bible as well as giving Adrian frequent aromatherapy treatments. A high spot was a telephone call from Mother Teresa of Calcutta who also sent a medallion via Indian friends. At his funeral they passed Diana a letter from Mother Teresa saying how much she was looking forward to meeting her when she visited India. Unfortunately Mother Teresa was ill at that time so the Princess made a special journey to Rome where she was recuperating. Nonetheless that affectionate note meant a great deal to the Princess.

One evening she can be immensely mature, discussing death and the after-life with George Carey, the new Archbishop of Canterbury, the next night giggling away at a bridge party. “Sometimes she is possessed by a different spirit in response to breaking free from the yoke of responsibility that binds her,” observed Rory Scott who still sees the Princess socially. As her brother says: “She has done very well to keep her sense of humour, that is what relaxes people around her. She is not at all stuffy and will make a joke happily either about herself or about something ridiculous which everyone has noticed but is too embarrassed to talk about.” Royal tours, these outdated exercises in stultifying boredom and ancient ceremonial, are rich seams for her finely tuned sense of the ridiculous. After a day watching native dancers in unbearable humidity or sipping a cup of some foul-tasting liquid, she often telephones her friends to regale them with the latest absurdities. “The things I do for England,” is her favourite phrase. She was particularly tickled when she asked the Pope about his “wounds” during a private audience in the Vatican shortly after he had been shot. He thought she was talking about her “womb” and congratulated her on her impending new arrival. While her instinct and intuition are finely honed, “she understands the essence of people, what a person is about rather than who they are,” says her friend Angela Serota--Diana recognizes that her intellectual hinterland needs development. The girl who left school without an “O” level to her name now harbours a quiet ambition to study psychology and mental health. “Anything to do with people,” she says.

Before she could say more, she looked up to find Cade towering over her. "Do you think they could do one song without us so I might have the pleasure of the next dance?" he asked formally. Lily looked startled and Whitaker frowned, but Anna had just arrived and offered shyly, "I'll play for you, Mrs. Brown. What would you like to hear?" It was settled. Feeling a quiver of excitement, Lily took Cade's hand and rose from the bench. "Do you know 'Molly Cotton-tail'?" It was an easy song, one every child learned, but great fun for dancing. Lily smiled at the child's eager nod. She would finally have a chance to try dancing. Lily's excitement was irresistible. Ignoring the fact that he would most likely get his head blown off for daring to lay a hand to a white woman, Cade led her out to join the dancers. Langton and his wife were there, and they joined the circle beside them. Cade hid his surprise as Maria haughtily joined them, towing one of Lily's farmhands behind her. Maria was a whore at heart, but she hadn't denied him her bed as many another had done before. Cade wouldn't begrudge this offer of friendship now. Unaware that a small cadre of friends and neighbors were forming a protective circle around them, Lily laughed and took Cade's hand as the music began. She had waited for this moment all her life, and she expected to enjoy it to the fullest. She no longer pictured a dream man to sweep her off her feet. She merely wanted to enjoy the music. Cade watched in amazement as Lily spread her wings and flew. She didn't need anyone's protection. The sheer delight on her face as she swung from arm to arm around the circle, her feet scarcely touching the floor, was enough to stop even the hardest heart from treading on her happiness. Cade almost half-believed that life had some meaning beyond mere existence as he watched her. He wouldn't need liquor if he could always feel that kind of joy, even secondhand. Lily collapsed, laughing, into his arms as the music ended. For a moment, Cade was supporting her slenderness against him while she recovered her breath. He had no right being aroused by innocence incarnate, but while Lily laughed, Cade burned. The

Abraham Lincoln wasn't much of a dancer. "Miss Todd, I should like to dance with you in the worst way," he told his future wife. Miss Todd later said to a friend, "He certainly did." "John Quincy Adams was a first-rate swimmer. Once when he was skinny-dipping in the Potomac River, a women reporter snatched his clothes and sat on them until he gave her an interview." "(Andrew Johnson couldn't read until he was fourteen! He didn't learn to write until after he was married!)

Abraham Lincoln wasn't much of a dancer. "Miss Todd, I should like to dance with you in the worst way," he told his future wife. Miss Todd later said to a friend, "He certainly did." "John Quincy Adams was a first-rate swimmer. Once when he was skinny-dipping in the Potomac River, a women reporter snatched his clothes and sat on them until he gave her an interview.

hard to figure out the nature of that regime. I remember walking in the street with a girl friend and a soldier started talking to us. It was mutual - he could not understand us just as we could not understand him. Yet, he meant to be friendly, so he gave us a book, which he was probably reading. Here are Russians bearing gifts. Somebody, who could read Russian told us that it was Gogol's "Dead Souls." It was a book from a lending library in Odessa. In the first week or so, they brought the Moysseiev Dancers, who performed in the Central Square of town, renamed "Red Square." They were magnificent folk dancers performing for the enjoyment of the newly liberated people, free people.

One of the most curious aspects of human psychology is an omnipresent and persistent habit to seek information from the worst possible sources. When seeking relationship advice, humans speak to their single friends instead of happy couples who have been married for decades. When researching a religion, humans ask ex-members instead of faithful members. When seeking financial advice, humans ask scholars instead of successful entrepreneurs. When discussing complex sociopolitical matters, humans solicit the opinions of actors and models. Anteedan Psychologists have dubbed this curious phenomenon the “Oprah Effect,” and had planned on determining the cause, however research ceased after a financial scandal involving the team lead stealing money from the grant and eloping with an exotic dancer named Cinnamon. -A Tourists Guide to Earth, 2nd edition, page 184, Valium Press

Alma as her number one strip dancer, on the promises that he would connect her to his big friends in the show biz but she finds out in a heartbreaking event that she’s

You look as if you’ve just lost your best friend.” Eve took a place beside Jenny on this observation, which leavened Jenny’s sense of desolation with a spike of resentment. “With all my family around me, how could I possibly be in want of companionship?” Eve watched their mutual siblings stepping through a minuet while their brother Valentine held forth at the piano. “The same way I can long to dance while the minuet plays all around me.” Marriage had settled Eve, and impending motherhood had only honed her already formidable instincts. “You’re admiring your husband, Lady Deene, even when you can’t dance with him.” “He’s promised me a waltz, though Valentine will probably find one to play at the speed of a dirge.” She fell silent for a moment as the dancers one-two-three’d around the space created by the music room and an adjoining parlor. “You would make a wonderful mother, Jenny.” The worst pain was not in the words Eve offered, but the combination of pleading and pity with which she offered them. “Becoming a mother usually contemplates becoming a wife first, and I’ve no wish to wed some man for the sole purpose of bearing his babies.” Not the sole purpose… As the dancers twirled and smiled, it occurred to Jenny that Victor had made her promise not to stop painting, but he hadn’t said anything specific about eschewing motherhood. Had he? Another pause in the conversation, while the music played on. Eve, however, was notably tenacious, so Jenny waited for the next salvo, and Eve did not disappoint. “You look at Bernward the way I look at Deene, the way Maggie looks at Benjamin, the way—” “Louisa looks at Joseph, I suppose.” And Sophie at her baron too, of course. They needn’t start on how the Windham brothers regarded their respective wives. “Louisa’s gaze is a touch more voracious. I was going to say, the way Mama looks at Papa.” Ouch. Ouch, indeed. The duke and duchess turned down the room with the grace of a more elegant age, and yet, their gazes spoke volumes about the sheer pleasure of sharing a dance. Jenny stated the obvious as matter-of-factly as possible. “Their Graces dance beautifully.” Eve’s feet were propped on a hassock. She wiggled her toes in time with the music, the left and right foot partnering each other. “Bernward also dances quite well.” Elijah was dancing with Valentine’s lady, Ellen’s preferred partner being ensconced at the keyboard, as usual. “Bernward is dancing carefully, lest Valentine take exception.” Eve twitched her skirts. “Bernward is dancing with one eye on you, you ninnyhammer, and with the certain knowledge that all three of our brothers are waiting for him to come over here and get you to stand up with him. How many more times do you think you can check on the punch bowl between sets without Bernward taking insult?” Check

Jenny, what can I do to help?” Westhaven’s expression was merely genial, but in his words, Jenny heard determination and that most dratted of holiday gifts, sibling concern. “Help?” “You’re quiet as a dormouse. Maggie says you’re chewing your nails. Louisa reports that you’re taking odd notions, and Sophie won’t say anything, but she’s clearly worried. Her Grace muttered something about regretting all the time she’s permitted you to spend among the paint fumes.” “What would Her Grace know of paint fumes?” What would the duchess know of anything relating to painting? “She’s our mother. Where knowledge fails, maternal instinct serves. Is Bernward troubling you?” Westhaven was an excellent dancer, and if Jenny did not finish the dance with him, Her Grace would casually suggest that tomorrow be a day to rest from the activity in the studio. The idea made Jenny desperate. “Westhaven, you must not involve yourself in anything to do with Elijah.” “Elijah.” Westhaven’s gaze shifted to a spot over Jenny’s shoulder. “And does he call you Jenny?” He calls me Genevieve, and sometimes he even calls me “woman.” “He calls me talented and brilliant but uneducated and unorthodox too. I’ve enjoyed working with him these past weeks more than anything—” “Excuse me.” Elijah had tapped Westhaven on the shoulder. “May I cut in?” Westhaven’s smile was diabolical. “Of course. Jenny would never decline an opportunity to dance with a family friend.” Family friend? Her blighted, interfering, perishing brother was laying it on quite thick. Elijah bowed. “Lady Genevieve, may I have what remains of this dance?” Two days remained. Two days and three nights. Jenny curtsied and assumed waltz position. As Elijah’s hand settled on her back, his scent wafted to her, enveloping her in his presence. “You’re avoiding me,” he said. “You needn’t. I’ll be leaving soon, and I hope we can at least part friends.” With her siblings, she could dissemble and maintain appearances, but with Elijah… “I am honored you think me a friend, Elijah.” And he danced wonderfully, with the same sense of assurance and mastery that he undertook painting… and lovemaking. “I am your friend too, Genevieve.

In 1907, the 33-year-old John Duncan Fergusson arrived in Paris from Edinburgh in search of a studio. He found one in the Boulevard Edgar Quinet in Montparnasse, a quartier which had usurped Montmartre as the destination for painters, sculptors, dancers, writers and musicians. Paris was an artistic and international maelstrom, where not being French was no disadvantage for an aspiring artist - Picasso, Gris, Modigliani, Chagall were just a few of the émigrés who settled in the city. There was also soon to be a coterie of British and American artists - including Jesssie King and her husband E.A. Taylor, Jessica Dismorr, Anne Estelle Rice, and Fergusson's Edinburgh friend S.J. Peploe - who seemed to find in Fergusson a natural spokesman, even leader.

Now of all the bonds between homosexual friends, none was greater than that between the friends who danced together. The friend you danced with when you had no lover, was the most important person in your life.

look at what Dylan sees. You get wonderful grades; you have three best friends who would walk over hot coals for you; you have a thriving business, doing something you love; you have an adorable crush who seems to like you back; you’re a member of a business club that enriches your life; you’re a beautiful dancer.

It was apparent that her husband had no intention of joining her at any of her dance classes, so his complaints were futile.

Jade realised that being everyone’s best friend took time and effort, so she had learned to be a great listener. Her friends thought she was fun to be around, but she was unhappy with her weight. Jade had never met a man who respected her and had convinced herself that her body was the issue.

What’s that Russian saying about incompetent people trying to pass the blame?” Senderovsky laughed. “ ‘A bad dancer is bothered by his balls.

She tried to smile but failed. “But it’s not enough to be in love. It’s about how you spend your days, what you do together, who you choose as friends, and most of all it’s what work you do. I’m a dancer. I need to dance.

Their family friend Dr Ettlinger, who had stood as witness at the couple’s wedding, had urged Suzanne to teach Maurice to paint. Doing something creative with his hands would at the very least distract him and channel that unspent energy, Dr Ettlinger had reasoned. It might even prove the miracle cure to his malady. Suzanne was ready to pounce on any new idea which offered a potential remedy, however speculative the results. And painting was what she knew. She agreed: the countryside often proved a source of inspiration to new painters. It seemed worth a try.27

I can hardly believe that dancer’s willow ripple was my torso, and I felt at home in it, I could bear its beauty, and I knew I was born to lie down in it in a woods with another person. Now the heavy flesh of the years of misdirected love is beginning to come off, I am lopping it—rich queen rinds and collops of fat. I am desperate to love myself, to tolerate myself, vanity mixed in with it is fine, pride is fine, all avails. Others who hate injustice and extermination and murder are willing to go into those intimate places, a stadium of blood and excrement, to hate it directly, up close, inches from it, touching it. When I am at my lowest, do I hate myself? I suspect her and have contempt for her. And except for my friends—when I’m low, do I hate everyone?

It was a continuing bond and that is what Malone and Sutherland were for years, starting that fall: two friends who danced with one another.

Vaughn held me, and my guys, my brother, and my friend erased Fuckbucket like he’d never existed. For me, it was enough to end Bradley Sharpe once and for all.

Some of my favorite nights were when I would go out with my dancers. One time in Europe we went to a gay club where I felt like everyone around me on the dance floor was so tall. The club played great electro dance music and I loved it. I danced until six o'clock in the morning and felt like it went by in two seconds. My heart was so alive. It was like the mystical time in Arizona - it was a spiritual experience to be with people who I could feel loved me unconditionally. With friends like that, it doesn't matter what you do or say or who you know. That's true love.

Gurfein said he was open to the idea, so Polakoff told him he would call this “intermediary,” as Polakoff put it.1 Gurfein had no idea who Polakoff was talking about, but he did have faith that Polakoff understood perfectly how the underworld was organized and knew what he was doing. Socks Lanza was happy to be Luciano’s contact. But from what Haffenden had learned about underworld hierarchy, he had his reservations about sending in Lanza to meet Luciano, so when Gurfein reported back that Polakoff had someone else in mind, the commander was more than receptive to the idea. Another dancer was thus added to the circus. Interestingly, Polakoff’s choice wasn’t Frank Costello—Luciano’s acting boss—or anyone from the Luciano family, for that matter. Polakoff knew Luciano well after spending so much time defending him—albeit unsuccessfully—during his trial. So he knew that the person who held the most sway with his client was his business partner, current accountant, and best friend, Meyer “Little Man” Lansky.

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He’s a real man!’ shrieked Neena. ‘Not a namby-pamby bastard like you!’ ‘Any more abuse and I’ll leave you here with Mr Lobo. You can both occupy the VIP suite. Many famous people have slept in it—Emperor Haile Selassie, the Panchen Lama, Pearl S. Buck, Raj Kapoor, Helen, and Polly Umrigar the cricketer.’ ‘What—all together?’ giggled Neena. ‘It must have been quite an orgy!’ ‘Not all together, Your Highness. Separately, and at different times.’ ‘Helen of Troy, too.’ ‘Not Helen of Troy. Helen, the Bollywood dancer.

The most interesting thing I learned from this trip came when I told the story to my friend James, who had been a performer on a cruise ship years before. When I told him the woman said, “Bravo, bravo, bravo,” James froze. Did she really say it three times? he needed to know. Then James laid it out for me. Bravo is serious. The more times they say it, the more serious it is. The most times they ever say it is four times, and if they say it four times, it means you’re going down to your watery grave. So “Bravo, bravo, bravo” was not terrific. Interesting fact number two: In the event of an emergency, it is the entertainers who are in charge of the lifeboats. Because the rest of the crew has actual nautical duties, the kids from Fiesta Caliente are trained to man the lifeboats. If you ever have to get on a lifeboat, the person in charge of your safety will likely be a nineteen-year-old dancer from Tampa who just had a fight with his boyfriend about the new Rihanna video. James also told me that each lifeboat has a gun on it and that once a lifeboat is in the water, the performer–lifeboat captain is trained to shoot anyone who is disruptive. This is apparently legal in accordance with maritime law.

A bubble of clarity bloomed in my mind. It was those words she used. I hated those words. Tramp. Whore. The friends and women I’d known over the past century or so had been called the same names—the streetwalkers and the actresses and the mistresses, the dancers and the abandoned wives. They’d all endured the words forged into blades, weapons to cut them down.

There are some great dancers in our grade; even some of the boys are particularly good. One boy named Alex has been dancing pretty much his entire life and is probably the best dancer in the whole school. When he was younger, he said that the other kids had bullied him and called him a girl as well as a heap of horrible names that he really didn’t want to mention. But I could see that everyone had finally developed a huge amount of respect for Alex and those who were still unaware of his talents were in for a big surprise. Hip hop is his specialty and he’s so cool to watch. I kept telling him that when he’s old enough, he should audition for “So You Think You Can Dance” and he told me that he’d really like to. As well as Alex, there’s another kid in our grade who is kind of overweight and dorky looking. But it turns out that he has an awesome voice. I had no idea that our school has so much talent and it certainly came as a huge surprise to find out that Liam can actually sing really well. The look of amazement when we heard his audition pretty much spread like wild fire. I even caught the teachers raising their eyebrows in astonishment. It just goes to show you that you can’t judge a book by its cover! I never really understood what that meant until hearing Liam sing. Now, I don’t think I’ll ever look at him in the same way again. It’s also a really big lesson for me. From now on, I will never judge a person by their looks alone. I’ll wait till I get to know them because I’ve found out that until you do get to know people, you really don’t know what type of person they are or what hidden talents they might have. Anyway, the musical was shaping up to be a huge success. The dance troupe we had put together was really coming along and we rehearsed during every lunch break and sometimes even after school. Then one afternoon, an amazing thing happened; Blake Jansen, who I’ve had a secret crush on since the fourth grade, turned up at rehearsals with his friend, Jack.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all. Astaire only got on his knees to execute a dazzling dance move, never as an act of submission. His characters were largely wealthy, self-assured, and worldly. He danced with sophistication and class. In his famous pairings with Ginger Rogers, the primary dance numbers had the couple dressed to the nines, swirling on equally polished floors to the strains of deeply moving romantic ballads.

Berlin wrote songs for a number of Astaire films of the period: Top Hat, Follow the Fleet, On the Avenue, Carefree. The two men became close personal friends for the rest of their lives. But the choice of Astaire as a Hollywood leading man is, at first glance, puzzling. Certainly, he was an extraordinary dancer, and songwriters appreciated his accuracy and clarity when singing their songs, even if his voice was reedy and thin. But a leading man? Essentially, Astaire epitomized what Berlin and other Jews strove to achieve. He was debonair, polished, sophisticated. His screen persona was that of a raffish, outspoken fellow, not obviously attractive, whose audacity and romanticism and wit in the end won out. It didn’t hurt that he could dance. But even his dance—so smooth and elegant—was done mostly to jazz. Unlike a Gene Kelly, who was athletic, handsome, and sexy, Astaire got by on style. Kelly was American whereas Astaire was continental. In short, Astaire was someone the immigrant might himself become. It was almost like Astaire was himself Jewish beneath the relaxed urbanity. In a film like Top Hat he is audacious, rude, clever, funny, and articulate, relying mostly on good intentions and charm to win over the girl—and the audience. He is the antithesis of a Clark Gable or a Gary Cooper; Astaire is all clever and chatty, balding, small, and thin. No rugged individualist he. And yet his romantic nature and persistence win all.

Lerner held that Brigadoon was one of Minnelli’s least vivacious efforts, despite the potential offered by CinemaScope. Only the wedding scene and the chase that follows reveal Minnelli’s unique touch. Before shooting began, Freed rushed to inform Lerner that “Vincente is bubbling over with enthusiasm about Brigadoon.” But, evidently, his heart was not in this film. Early on, Minnelli made a mistake and confessed to Kelly that he really hadn’t liked the Broadway show. As a film, Brigadoon was curiously flat and rambling, lacking in warmth or charm, and the direction lacks Minnelli’s usual vitality and smooth flow. Admittedly, Lerner’s fairy-tale story was too much of a wistful fancy. Two American hunters go astray in the Scottish hills, landing in a remote village that seems to be lost in time. One of the fellows falls in love with a bonnie lass from the past, which naturally leads to some complications. Minnelli thought that it would be better to set the story in 1774, after the revolts against English rule had ended. For research about the look of the cottages, he consulted with the Scottish Tourist Board in Edinburgh. But the resulting set of the old highland village looks artificial, despite the décor, the Scottish costumes, the heather blossoms, and the scenic backdrops. Inexplicably, some of the good songs that made the stage show stand out, such as “Come to Me, Bend to Me,” “My Mother’s Wedding Day,” and “There But for You Go I,” were omitted from the film. Other songs, such as “The Heather on the Hill” and “Almost Like Being in Love,” had some charm, though not enough to sustain the musical as a whole. Moreover, the energy of the stage dances was lost in the transfer to the screen, which was odd, considering that Kelly and Charisse were the dancers. For some reason, their individual numbers were too mechanical. What should have been wistful and lyrical became an exercise in trickery and by-now-predictable style. With the exception of “The Chase,” wherein the wild Scots pursue a fugitive from their village, the ensemble dances were dull. Onstage, Agnes de Mille’s choreography gave the dance a special energetic touch, whereas Kelly’s choreography in the film was mediocre at best and uninspired at worst. It didn’t help that Kelly and Charisse made an odd, unappealing couple. While he looks thin and metallic, she seems too solemn and often just frozen. The rest of the cast was not much better. Van Johnson, as Kelly’s friend, pouts too much. As Scottish villagers, Barry Jones, Hugh Laing, and Jimmy Thompson act peculiarly, to say the least.

trip on every lump and bump going, catching Rosie by surprise each time. Alice and Charlie couldn’t hold in their giggles, which set Rosie off too, just as Dancer almost tipped onto her nose, sliding Rosie up her neck. Mia shook her head at her friend’s clumsiness as Wish carefully placed her delicate hooves without

The big question is, will you or won’t you waltz? In this wildly successful but daring new dance, introduced at Almack’s in about 1815, a lady must actually permit a young man to put his arm round her waist. Captain Gronow recalled: ‘There were comparatively few who at first ventured to whirl round the salons of Almack’s.’ Young ladies should only waltz with a gentleman friend or one they’ve been introduced to, and they must not waltz at all before they are ‘out’. When you waltz for the first time, it’s initially alarming to feel the heat of a man’s arm through your thin muslin gown. The poet Lord Byron, who knew a thing or two about seduction, disapproved of the ‘lewd grasp, and lawless contact warm,’ which the waltz’s dancers enjoyed:

Ending the Year in Praise Praise the Lord! Praise God in his heavenly dwelling; praise him in his mighty heaven! Praise him for his mighty works; praise his unequaled greatness! Praise him with a blast of the trumpet; praise him with the lyre and harp! . . . Let everything that lives sing praises to the Lord! Praise the Lord! Psalm 150:1-3, 6 What a way to end the year—praising the Lord for his mighty works, his unequaled greatness. This psalm, also called the last hallelujah, invites us to join the praises to God in the holy place. The praise is not half-hearted; it is full-force praise with musical instruments—tambourine, stringed instruments, the lyre, the cymbals—and dancing, praise from everyone. When we offer God praise, we’re doing what we were created for, even if we’re not the best musician or dancer. All of us can raise our voices singing hymns, choruses, and new songs to the Lord. How has God blessed you, your family, friends, or church this year? What mighty works has he accomplished? What progress have you made in an area in which you’ve struggled? What prayers has God answered? What new attributes or aspects of God have you discovered or experienced in the past year? Lift up your voice or whatever instrument you play, and praise the Lord for these specific things as you pray this psalm aloud.   LORD, I join those in your heavenly dwelling to worship you for your mighty works. I praise your unequaled greatness. I praise you with my whole heart for how you’ve sustained me in the year that is ending, for your faithfulness, love, and provision. Thank you for how you’ll be with me each day in the new year. Let everything that lives sing praises to the Lord!   TO THE EAR OF GOD EVERYTHING HE CREATED MAKES EXQUISITE MUSIC, AND MAN JOINED IN THE PAEAN OF PRAISE UNTIL HE FELL, THEN THERE CAME IN THE FRANTIC DISCORD OF SIN. THE REALIZATION OF REDEMPTION BRINGS MAN BY WAY OF THE MINOR NOTE OF REPENTANCE BACK INTO TUNE WITH PRAISE AGAIN. Oswald Chambers (1874-1917)

In a predictable Catch-22 situation, the more Jews moved into Palestine from Europe, the more the tide started turning against the Arab Jews who had been living across the Middle East too, despite the fact that these people were traditionally something of a protected minority in Muslim states. Arab nationalism, fuelled by a new anti-Western outlook, spurred the xenophobic violence that caused many Arab Jews to flee their ancient homes and head for the hills of Palestine. For those Jews, gone were the days of barbecued fish on the banks of the Tigris, of watching belly dancers with other Arab friends, as fascist propaganda loaded with anti-imperialist sentiments hit the receptive ears of Muslim and Christian leaders across the Arab world. In 1941, the Farhoud massacre in Bagdad killed around 170 Jewish Arabs, and it wasn’t an isolated event.