Imbalance

Gaunt exertion dawdling dogma

decadent drool glib secretion

tendril measure octopi artifice 

transfigured lashing emancipation

beguiling flank bemused vanguard

wild orchestration novel schematic

signified solstice eloquent candour

playful transmission ornate circuitry

shortcake swathe strawberry swirl

overwrought twinkle dazzling sapphire

finicky flair impulsive crux

acrimonious tether bittersweet zounds

foolhardy wireless piquant piñata 

blessed exuberance tribal resonance

rhythmic liaison butterfly echo

fortuitous flout agile condition

ominous nougat pulsating strain

flamboyant flicker luminous llama

tweed imposition baritone succulence

disparate jammies megaphonetic

frumpy fruition hapless hokey

blank denomination opaque fugue

obscured variety tactile convenience

debonair dalliance outstretching stake

lemon echinacea zinc zumbaya

caricature Campbell yale distinction 

whippersnap tranq bodacious blend

seditious simmer galavant smooch

minuscule matcha corroded severance

flippant manoeuvre fetching strike

gingembre folk Euclid geometry 

overwhelmed tenure rigamarole 

clandestine hook macaroon marble

Jacoby jousting frenetic salts

distinguished caretaking tense efficiency

panoply puma battlecat cringe

smitten injunction algebraic clatter

corresponding function lay derivative

chatterbox slam garrulous stride

mim interlocutosaur Mardi Gras slaw

monastic bellow kitschy brew

clementine Kraken colluseverity

popinjay fly meditative lounge

croonin' minestroonin' insouperable scythe

yeasty regimen suffragette swerve

itinerant faction velodrome vibe

mutated extraction nutrient smarm

tentacle triage gumpty disjuncty

nuisance lynchpinnacle pineapple scrubs

finagle flounce novel interjection

camelotuscany lithic amplitude

crustacean skedad' sequin membrane.   

Piccadilly

A popular night club routinely offers exceptional dynamic crowd pleasing performances, its dancers showcasing sundry coveted moves and flourishing finesse with fluid elegance.

The spice freely flows the rhythms distill freeflowing upbeat pleasant fun merrymaking, half their tables zealously reserved (by noon) intense sprightly jocose reliable industry.

But as so often happens, the urge to change one's steadfast surroundings bluntly coaxes, and one of the famous sought after dancers decides he'd rather entertain North America.

The blow is indeed distressing as dependable revenue streams quickly dry up, his equally flexible former partner remaining but not enough of a draw to firmly bring hundreds in.

Then one night an ornery client vehemently complains about a stain on his plate, which prompts the owner to visit the kitchen the scullery in fact where he finds a new spectacle. 

Soon the act is passionately displayed for the curious public who responds with praise, the newfound sensation turning critical heads and swiftly redefining the business's mantra.

But the old act once incredibly loved isn't as willing to be warm and pleasantly accommodating. 

The owner caught between the stubborn lithe rivals.

Following his heart, wherever it leads.

Several decades before the Civil Rights Movement emerged with formidable vigour, Piccadilly sought to break down race barriers with a bold and courageous daring silent film.

Released in England not the United States and in British cinemas not on American television, it still predates William Shatner and Nichelle Nichols's kiss by almost a dashing and carefree 30 years.

I don't know enough about silent films so I'm not sure if such stories were often told at the time, I just know from my own observations that I've rarely seen interracial tales pre-1960.

Pioneering no less and also cool to watch it's still a captivating film, I was interested to see something starring Anna May Wong after she appeared on the American quarter.

She was tired of being typecast in early Hollywood and moved to Europe to find more diverse roles so I'm told, bravery rewarded in this instance at least she clearly steals the show in Dupont's Piccadilly.

If curious about silent film and alternative ways to tell compelling tales, it's worth checking out for sure with many of its themes still resonating today.  

Mao's Last Dancer

Bruce Beresford's Mao's Last Dancer presents the defection of Chinese dancer Li Cunxin (Chi Cao, Chengwu Guo, and Wen Bin Huang) to the United States during the 1980s. Raised on communist ideology, Li is grateful for the opportunities granted to him as a child but fearful of his government's attitude regarding criticism. He is born in a remote village and one day fortunately granted the opportunity to move to Beijing and study ballet. His resolve is determined and his attitude strict and even though he possesses less strength than his counterparts, he puts in the extra work necessary to be competitive. In 1980, Ben Stevenson (Bruce Greenwood) from the Houston Ballet visits his school and is impressed by his work, which he notes for being more fluid than the other dancers. He then convinces the Chinese Government to allow one of their dancers to come to Houston for a summer and study American techniques; fortunately, Li is chosen. Li begins his cultural studies with a distrustful eye, but after discovering that social codes are more lenient in the States (and falling in love), he marries his partner (Amanda Schull as Elizabeth Mackey) and refuses to return home. Afterwards, he must accept the consequences of having made a hasty marriage in a foreign country while making ends meet as a contract dancer.

Li is lucky enough to find a suitable job and maintain a healthy standard of living. His personal struggles are presented, but, like most of the issues brought up in broad biographies, don't receive sustained critical analysis (so much information must be condensed into brief scenes that a lot of the potential drama unreels superficially). A scene where Li discovers his good fortune after encountering similarly talented Chinese immigrants who weren't so successful would have been more realistic. The Chinese are depicted as being overly obsessed concerning the maintenance of a prominent cultural place for Mao's revolution (dancing must be political for instance), and an atmosphere of tension permeates their scenes. At the same time, the punishments you would expect to be draconian are antiseptic and the non-governmental social interactions are generally innocuous. Mao's Last Dancer is a family friendly film, gingerly presenting the ways in which a youthful artist audaciously if not rashly follows his heart and lives a troubled yet successful life as a consequence. Nevertheless, prominent issues such as racism, cross cultural integration, economic destitution, and political reconstitutions are not adequately interrogated within, and the film would have been stronger if another hour had been added to provide these dimensions with more serious attention.