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Word: badness (lookup in dictionary) (lookup stats)
Dates: during 1930-1939
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Usage:

...Decided flatly (but privately) not to recall from Russia U. S. Ambassador Laurence Steinhardt, but left the matter on a 24-hour basis. Franklin Roosevelt firmly believes that in his foreign policy he has made but one bad blunder: withdrawal one year ago of U. S. Ambassador to Germany Hugh Wilson. Mr. Roosevelt regards Ambassadors as reporters, doesn't like the second-hand reports now coming out of Berlin to the U. S. via London and Paris. The Kremlin, he well knows, would not care a fingersnap if Mr. Steinhardt were recalled, and then...

Author: /time Magazine | Title: THE PRESIDENCY: Smiling Sphinx | 12/18/1939 | See Source »

...Stiff" and "relaxed" are two ways of playing Swing. One is termed bad, the other good. What are the two styles, who plays them and why is one better than the other...

Author: By Michael Levin, | Title: Swing | 12/15/1939 | See Source »

...must be understood that the object of good swing is the creation of musical ideas ad lib that have continuity, simplicity, and sincerity (need we add, originality). Any band style of playing that aids this is therefore good; any that hinders it is bad. In the opinion of most musicians, the "stiff" or "power-house" style hinders the above, and is bad whereas the "relaxed" or "colored lag" style is the very essence of that thing swing...

Author: By Michael Levin, | Title: Swing | 12/15/1939 | See Source »

...your are going to be successful, you must have a band that plays in the "same hag"; in other words, plays as a unit the same amount behind the beat. That's why all new bands, bands of all-stars, bands mixing two beat and four beat men are bad. You can't have a mixture of ideas about the "proper lag" and get the swing. For unity, a really good swing band must make a football team look like the Tower of Babel...

Author: By Michael Levin, | Title: Swing | 12/15/1939 | See Source »

...melee, individual efforts arose into the spotlight because of their sheer quality. Vinton Freedley, Jr.'s dialogue, when not under the Coward influence, packed punches a-plenty. His characters tended to be typed, good, bad, rich, poor, though sometimes they rise above it and become people. John Holabird's sets, especially Mona's apartment, bear all the earmarks of something bound for Broadway. The Newberry-Rollins music (there should have been more of it!) fitted in beautifully with the Profit dance effects, and the two combined produced some of the high sports in the show...

Author: By W. E. H., | Title: Tbe Playgoer | 12/15/1939 | See Source »

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