{"version":"1.0","provider_name":"The New York Review of Books","provider_url":"https:\/\/www.nybooks.com","author_name":"Maryanne Chaney","author_url":"https:\/\/www.nybooks.com\/contributors\/maryanne_chaney\/","title":"Crotch Shots Galore |","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"rBtVf2IHD9\"><a href=\"https:\/\/www.nybooks.com\/articles\/2018\/05\/24\/bob-fosse-crotch-shots-galore\/\">Crotch Shots Galore<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.nybooks.com\/articles\/2018\/05\/24\/bob-fosse-crotch-shots-galore\/embed\/#?secret=rBtVf2IHD9\" width=\"600\" height=\"338\" title=\"&#8220;Crotch Shots Galore&#8221; &#8212; The New York Review of Books\" data-secret=\"rBtVf2IHD9\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/* ]]> *\/\n<\/script>\n","description":"When people think of the work of Bob Fosse, Broadway\u2019s foremost choreographer-director in the 1960s and 1970s, what they are likely to see in their minds is a group of dancers, in bowler hats and white gloves, standing in a stiff configuration and bobbing up and down in a cool sort of way. The dancers may rotate their wrists or splay their fingers, but they don\u2019t stick out too many parts of themselves at one time, and they generally don\u2019t travel around the stage much. They are often dressed in some combination of panties and garters and sheer silks; and even in the live shows, not to speak of the films, they offer you crotch shots galore. Not that they\u2019re planning to do much with their crotches. Most of them would as soon knife you as go out with you. The sex is not sexual but satirical. It\u2019s there to show us that every word we speak is a lie, that every promise will be broken.","thumbnail_url":"https:\/\/www.nybooks.com\/wp-content\/uploads\/2018\/04\/Acocella_1-052418.jpg","thumbnail_width":1600,"thumbnail_height":982}