gad

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gad about

To wander in search of fun or pleasure. You can't just gad about all day—you have to get some work done too.
See also: gad

gad around

To wander in search of fun or pleasure. You can't just gad around all day—you have to get some work done too.
See also: around, gad

on the gad

dated Moving or roaming about, especially without distinct purpose or direction. This town becomes overrun with young men and women on the gad during the summer. The entire herd of cattle had escaped and were on the gad in the fields around the farm.
See also: gad, on

gad around

 and gad about
to go from place to place, having fun. I'm too old to gad around like that. She wasted too much time gadding about with her friends.
See also: around, gad

on (or upon) the gad

on the move.
The noun gad is archaic and is now used only in this expression. The verb gad meaning ‘go from one place to another in search of pleasure’, is more familiar today; both may have their origins in an obsolete word gadling , meaning ‘a wanderer or vagabond’.
See also: gad, on
References in periodicals archive ?
Additionally, since the Gade is a hit-and-miss engine, the power stroke (especially when the engine is not carrying a load or doing any work) results in a significant rpm increase.
Outside of his rare Gade, Dave favors McCormick-Deering or International Harvester Model M gasoline engines.
At shows, Dave wants his Gade at eye level where people can really look at the machine, so he found a beat-up 1926 Ford Model T truck and restored it to elevate the Gade.
And if it is in fact Adrian Galia dancing with Stella Arauzo, then perhaps there is a new parallel line -- different from Gades dancing with his student-- for in this case the director Arazou chose her Don JosE[umlaut].
Gades described Carmen as "a free woman who had that concept of freedom that she would rather die than lose."
Since I started dancing with him at so young an age, my own personality and expression was molded by Gades." He pushed her to seek a full embodiment of Carmen, in technique and emotion.
More captivating are the moments in rehearsals when Hoyos and Gades urge del Sol to move with more purpose and urgency, or when Antonio dances the farruca, the ferocity of his presence pulsating in every lunge and turn of this rich, masculine dance.
Throughout the trilogy, Saura and Gades explore the possibilities and the limitations inherent in this tension, deconstructing flamenco even as they celebrate it.
Critic Pierre Lartigue claimed that Gades' flamenco was "duende-less," in line with a new, postfascist Spain and rid of the (sometimes forced) mysterious romanticism of southern Spanish flamenco.
"Gades brought flamenco to a new level with his movies with Saura and that was a great contribution--maybe his greatest as an artist," says master flamenco teacher and performer Teodoro Morca.