Word: lacour
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...LaCour, the vice-president of the American Federation of teachers, discusses "Teachers Unions and the Reform of American Schools?" in the Starr Auditorium...
...there are about 3,000 pageants a year in the U.S., 500 of which cater to the preteen-and-under set. Children could compete every weekend, if they and their parents had the energy and resources. "There's a new pageant popping up all the time," says V. J. LaCour, publisher of Pageant Life, a Sacramento quarterly with a circulation of 60,000. "The reason for their existence is money. If the pageant makes a profit, it will continue. If not, it's gone tomorrow." Cohen says organizers of the larger statewide contests clear at least $100,000 per pageant...
...ruin the event for a child, hollering or even hitting her for not performing well. "A lot of these parents are so serious about it that they take away all the pleasure from the kids," Cohen said. "If the child loses, they feel like they let the parent down." LaCour too has seen it all. "I've seen mothers take young girls right off the stage before the judging results even come in and yell at them in the bathroom about blowing it. I've even seen a mother yelling at her kid, and then the child wins the pageant...
...many ways the little girls who look strangely like little adults act grown up as well. "The children who participate in these contests are extremely intelligent as well as extremely attractive," says LaCour. "They can hold a conversation with anybody. They're quick thinkers; they have to be--they have to know how to alter a long-practiced routine if someone ahead of them has just done what they were planning to do. They have what's known in the industry as the 'whole package.'" JonBenet Ramsey may have had that but, notes LaCour, "There are hundreds more just like...
...spoken dialogue, birdcalls or bursts of electronic light and shadow. The Robert Sibbing Quintet of Macomb, Ill., even turned up with a complete Mozart string quintet transcribed for the sax. French Virtuoso Jean-Marie Londeix wailed into some high, American-style leaps during the premiere of Fellow Countryman Guy Lacour's Hommage à Jacques Ibert, thereby precipitating excited talk of a possible fusion between the French school of playing (bright, full tone, strict adherence to the instrument's normal 2½-octave range) and the American (more jazz-influenced, less inhibited in tone and pitch...