Met een voorwoord van Arnon Grunberg.

Natuurlijk zijn er ekende barre periodes in de Nederlandse voetbalgeschiedenis als 1889-1973 of de vroege Jaren 80, maar was 1974 eigenlijk - achteraf bezien - niet veel pijnlijker? Waren we in 1988 nou echt wel zo goed? En waarom werden we in 1998 geen wereldkampioen? 0De laatste noodlottige 89 minuten in de WK-finale van 1974, en de rode kaart van Wim Kieft in Brussel, het afbraakvoetbal van Oranje op de WK's van 2006 en 2010 (om maar te zwijgen over 1976 ...), de penaltydrama's door de eeuwen heen ... Maar was het allemaal wel zo goed zoals wij het herinneren? 0Kluun en Giphart helpen de voetballiefhebber met een andere blik te kijken naar verleden, heden en toekomst van het Nederlands elftal. In barre voetbaltijden is dit het ultieme feelgood boek voor de geplaagde Oranje-fan.

Totaal 100 hits op de cd'.

Merce Cunningham was a principal dancer in the Martha Graham Dance company from 1939 to 1945, performing his first New York solo concert in 1944. Thus far, Cunningham's career has seen him choreograph nearly 200 works for both his own company and other dance troupes, including the New York City Ballet, Ballet of the Paris Opera and American Ballet Theatre. Published to coincide with an exhibition of his life and work that takes place in Barcelona, Turin and Porto, this work documents his career in all its diveristy. It contains historical essays on his work, a text recalling his last three years of activity, anecdotes, and writings by artists and dancers honoured to work with him.

This book is the first authorized biography of four twentieth-century American Indian ballerinas: Maria Tallchief, Rosella Hightower, Marjorie Tallchief, and Yvonne Chouteau. All raised in Oklahoma during the 1920s and 1930s, these women went on to achieve international fame, each uniquely responsible for changing the image of a ballerina. Lili Cockerille Livingston, who worked with all four of the ballerinas during her own career as a dancer, draws upon her extensive interviews with the women to bring their stories to life. In their own words, they tell about their childhoods in Oklahoma, their early rises to fame, the ups and downs of their personal lives, the challenges of combining marriage and motherhood with a dancing career, and their recent achievements as mentors and teachers of a younger generation of dancers. In tracing the diverse careers of the ballerinas, Livingston fills important gaps in the history of ballet. She sheds new light on the development of New York City Ballet, American Ballet Theatre, and the now-defunct Harkness Ballet and Grand Ballet du Marquis de Cuevas. In addition, she reveals the harshness of touring for dancers, the effect of World War II on the dance world, and revolutionary changes in choreography and training that took place during the women's performing years. Livingston also explores the tribal backgrounds of the women, showing how their rich cultural heritage contributed to their development as artists and their unique performing styles. At the same time she provides a fascinating glimpse into the worlds of the Osage, Choctaw, and Cherokee-Shawnee tribes to which the Tallchief sisters, Hightower, and Chouteau respectively belong.