Word: backed
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Dates: during 1950-1959
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...usual, Hollywood fired back in all directions. Sounding as if any criticism amounted to outright censorship, Columbia Vice President Sam Briskin pulled the trigger before he even saw the enemy. No individual or group, he cried, has a right to censor the industry. "The public will soon enough tell us what they want and don't want...
...full-page trade-paper ads, TV Producer Jack (Bold Journey) Douglas talked back to his critics-and his words had the authority of success. Last week he announced details of the sale of 'his new TV series, Sweet Success, to the Independent Television Corp. for international syndication. Douglas has also peddled enough other new shows to land enough business for his production company (estimated net worth: $2,000,000) to keep it busy for four years. The Douglas operating formula, E+E=$$$ (education+ entertainment = dollars), was paying off, and if the Douglas critics did not like it, they could...
...mates (Eugene Wright on bass, Joe Morello on drums, Paul Desmond on alto sax) made each number sound like a theme and variations. The quartet usually started with well-known tunes (These Foolish Things, St. Louis Blues), then varied the tempo (from 4/4 to 5/4 and back to 3/4) as it injected its own sometimes loud, sometimes soft designs. The solo lead flew like a badminton bird from one musician to the other...
...University of Michigan. He was doing badly in physics and math, thought he was sure to flunk out. Soon there would be nothing for it but to leave school, quit his job as janitor at Ann Arbor's First Methodist Church, and take the humiliating news back to his schoolteacher father in Singapore. Finally, one day in October 1955, Cheng disappeared. His friends, including the Rev. Eugene Ransom, pastor of the church, called in police. They found no clues...
While abstract expressionism rules the cash register in Manhattan's prospering art galleries, young artists across the land are turning back to images-but with a difference. The classical tradition, reasserted in the Renaissance, has always been that people are beautiful, at least in art. The new imagemakers dispute that. Their figures are human, but horrible. The horror school has its center in Chicago, is staffed by an earnest, loose-knit and surprisingly well-adjusted handful of Art Institute graduates...